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James Malamatinas

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Everything posted by James Malamatinas

  1. Chris is spot on - 35mm cores are what pretty much everyone uses for the standard cloth tape. Now all you need is a trainee with some time on their hands to decant it all!
  2. I recently worked on a shoot where the DP had bought his own mattebox - an Abracam (https://abracam.myshopify.com/). I think his was the 3F138-EVO It's 3D printed and I was skeptical of it initially but despite what looks like a less robust design than something like a ARRI LMB I have to admit it worked very well and had some really useful perks. - No filters trays so filters stack immediately on top of one another without glare - Quick release for easier removal from lens - Very lightweight - Extremely quick to convert from 3 stage to 2 stage, just push to corners. - Nifty lightweight flags I've only used it on a single 4 day job so can't speak to durability but would have no issues using in future, filter changes were definitely quicker. Everyhing seemed very secure and robust - my only gripe as an AC is it's so small there nowhere to put filter tags!
  3. Brilliant post - pure movie magic at work. The obsession and dedication that filmmaking brings out in people is a joy to see. If youve got any other similar making ofs, or BTS please recommend. Ministries and practical fx is endlessly fascinating.
  4. Thanks Dom, your level of expertise and willingness to share is exactly why I visit this forum. I've got a good understanding of the mechanism now I think so much appreciated. I imagine I'll never run into the issue but if I do at least I'm well armed for it!
  5. Thanks Dom, that sounds precisely the mechanism that was described to me. Is it possible that on occassion when returning the camera back level from being tilted that this can get stuck and that a manual check should be done to make sure it has been reset? If so how would that be done. I'm sure any issues are extremely rare but now I'ved learned of it I'm curious how it works! I've tried searching for further details on the mecahnism itself but documentation appears scarce. Are you also aware of similar mechanisms on other camera e.g. PV, Movicam?
  6. Thanks Aapo, Ill follow up on this and see if this is what they were referring to. I thought they said it was present with more modern Arri film cams too but Ill take a deeper at this and see where it takes me!
  7. Hi Doug, when I was watching it I wasnt thinking S16mm either, but the director confirmed it after and once he did it made a lot of sense. Theres a lovely grain to it when you see it blown up that helps capture that time
  8. Ive just seen The Old Man & The Gun at the LFF and fell in love with how theyve perfectly recaptured the look feel of 60s/70s Robert Redford era. Im not familiar with Joe Andersons work and I know the film is only doing festival circuits at the moment but if anyone has insights into the filming style or any links to write ups on how it was shot Id love to learn more. David Lowry mentioned shooting on 16mm but not a lot about anything e.g. the grade, lenses or other aspects. Im also curious about the whip pan transitions they use for numerous scenes and whether they were in camera. The film was brilliant and I wholly recommend it if you get the chance. Perfectly nostalgic in the best way, and proof this kind of movie can still be made today without feeling old fashioned. The whole audience seem to share the same feeling and had a huge amount of fun, exactly what Lowry and Bob said they set out to do.
  9. Someone was recently describing a pin/claw mechanism that comes into play with some film cameras when riggng them in a top shot mode. Apparently the pin ejects itself when in a specific vertical orientation to maintain correct pressue on the plat and should then collapse back when the camera is bought level again. Does anyone know which cameras this applies to and have any more information? The topic arose due to an assistant's experience where the pin failed to be retract, affecting the depth of the film plane and thus focus. I'm curious to learn more for any future, simlar situations.
  10. Thanks Greg, I always enjoy your insights. It's only the last couple of years that I've really come to understand how demanding and extensive the DP's requirements can be for lenses when trying to find the perfect look for the story - some of the tales I've heard of the lengths crews go to test the lenses are... impressive! Has the process of detuning lenses always been available and common, or have the likes of PV and Arri made it a lot more accessible in recent years thanks to new technology e.g. computer lens design or other factors?
  11. If all you are looking for is to have the UDM readout function then no, you can set up the horns and the readout separate from the LCS. You simply need to mount both the horns and readout, connect them up and then connect the readout to an appropriate power output - D-Tap or RS. If you want to have the UDM readout on your WCU-4 or Preston handset that is different, but it sounds like that is not what youre asking.
  12. How did you find the re-housed K-35's? Obviously the housing is a big improvement on the originals but I've heard a few comments from people that some of visual characteristics of the lenses have been lost, such as the flares being quite different in the re-housed lenses.
  13. I largely agree with John above - I loved this movie and feel like the M:I crew and Tom Cruise are doing incredible things to remind audiences of how thrilling and spectacular practical stunts and fx can be. In recent years I think only Christopher Nolan is pushing this side of filmmaking in the same way. From a cinematography view Rob did a great job too, although I found one thing particularly distracting; some of the darker scenes such as shots in the tunnel during the Walker reveal, or under the bridge at the beginning were excessively grainy. I know they shot 35mm but it felt almost like the neg had been pushed to an absolute extreme. Is this an effect caused by underexposong quite far and then trying to push it back up in the bath? I tried to find a story motive for why they were shot like that but really couldnt and they took more out of the movie for small moments.
  14. Whilst youre waiting you can just use/make a neoprene donut to prevent any light coming through the gap. We often use them ever when we do have the correct sized rings as it can make life easier.
  15. Thanks for such a in-depth reply. Tons of interesting insights into the world of film projection which I never had much opportunity to experience first hand. I respect the love many people (myself included) hold for film projection with its unique aesthetic and charm however your post has really highlghted a large number of ways well calibrated digital projection helped improve the overall cinematic experience. I'm actually putting together a list of these kind of film imperfections as a reference guide that covers production, processing and projection so I may be tapping your knowledge in the future! ,
  16. Useful info, had not been aware of the capping shutter before. Manual here for anyone else interested: http://www.aoassocies.com/wp-content/uploads/2016/12/arri_ICS1_SFHC1_usermanual_en.pdf
  17. Thanks for this Alex. Time for to disappear down another rabbit hole watching his work...
  18. Been doing some searching and coming up empty. Anyone know who shot this for director Hiro Murai? https://www.google.co.uk/amp/amp.timeinc.net/nme/news/music/childish-gambino-new-video-this-is-america-2309435%3Fsource%3Ddam
  19. I had a chance to see 'Once Upon A Time In The West' last night on a well worn 35mm print and it had me fascinated by the different types of marks you get with film, just a few I picked jup include; cue marks linear scratches down the film across rolls wavering scatches down the film specific to a roll fogging on the edge of the frame I'd like to learn more about this, e.g. what the he colour of different types scratches means, and how to identify whether marks indicate an origin in the mag, lab or projector and so forth. Does anyone have any resources on this, possible categorising and listing the different types? Even better if there is pictures...
  20. Which reminds me - it's been sitting on myself begging to be read for almost a year (sorry!). It caught my eye unexpectedly when I was visiting the BFI Southbank and was an instant buy. Although I've not dived in very deep it appears incredibly thorough. Looking forward to getting stuck into, thanks for all your efforts.
  21. Arri do do a Diopter stage for their clip-ons, its below. Be aware though that it takes up the space of two filter trays so bear that in mind depending on number of filters you want to use. Clip-On Diopter Stage: https://cvp.com/product/arri_k2.0014745_diopter_stage_138mm?gclid=EAIaIQobChMI4b-I7-m02gIVjrvtCh0tcQHXEAQYASABEgLJufD_BwE Regarding Studio matteboxes, these don't have the same kind of filter stage but most if not all Arri ones have this type of filter ring that accepts 138mm diopters Studio Mattebox Diopter Ring: https://cvp.com/product/arri_k2.47190.0/department/cinematography
  22. Thanks Matti, confirms my suspicions and definitely useful info to have.
  23. On Alexa Mini / WCU-4 shoot last week we experienced severe signal issues with the WCU-4 handset. If the 1st AC moved further than approximately 6' from the camera the signal would drop out, only when he came back within range did it reconnect and the focus jump back to what was set on the handset. Troubleshooting we tried: - 3 x different antenna's, including a large antenna from the Teradek 2000 - Trying all different signal channels - Changing global region on the handset - Different handset batteries to rule out power issues Our thoughts was that there must be an issue inside the body with the antenna connection but has anyone else had a similar experience and found a solution short of getting a replacement body sent out by the rental company?
  24. I can also second Robin's suggestion. We had the same requirements shooting a film last year and ended up using the sync box in the image attached, my understanding was that it uses magnetic fields from the CRT to correctly sync the image. We were shooting 35mm Arri LT but I think the sync box should work with the SR3, we also used a speedbox though to help control the sync and I'm less sure that this would work with an SR3 but worth investigating. Steps involved for us were: 1. Take Mag OFF! 2. Connect the Speed Box to the cam and the vid sync box (which by this point should be near the CRT) 3. Run the cam. 4. Press Sync Phase (set sync to Manual). 5. Look through the eye piece till you’ve achieved the result needed! 6. Replace mag and turn over. The box has a red light on it which, when lit, means that the box is in sync.
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