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Richard Lacey

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About Richard Lacey

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  1. I'm currently prepping a feature to be shot on Epic Dragon with a Arri UMC4 brain. The UMC4 is connected to the camera body with a K2.65270.0 UMC to Red cable. This takes up both the SYNC and CTRL ports on the camera body. The problem is that our sound mixer needs to use the SYNC port on camera for his timecode box, which means we lose the remote record functionality. We have tried sending timecode to the UMC4, but this only records it to the SD card. It does not pass through to camera for syncing with the R3D files. Does anyone have a solution where we can retain remote recording and also timecode? Many thanks, Richard
  2. I've been using the Tiffen Vari ND for the last year or so and have been quite happy with it. https://www.bhphotovideo.com/c/product/821125-REG/Tiffen_62VND_62mm_Variable_Neutral_Density.html I haven't done any heavy testing with it, but the bits I've shot with it have been grand.
  3. I'm currently 2nd AC on a TV series where we're using the DoP's own kit. His set of Schneider classic softs all have the black plastic on the edges peeling off. Does anyone have any advice on fixing these? I wouldn't say we have the money or time to send them off for repairs, so I'm thinking of an on set fix.
  4. Thanks for all the advice. Things are becoming a bit clearer now. Even if I do source a camera that can shoot 24fps I'd be tempted to go for the 18fps setting. The look the director wants is something like this. http://www.youtube.com/watch?v=gpLcKCcm2RE 18fps would presumably better resemble this. Are there any potential issues with going for 18 frames?
  5. Unfortunately I don't think there's time to buy a camera on ebay. I was brought in quite late, so there's now only a week left til we shoot. Luckily the whole thing is actually a silent film, so no need to worry about sync. Any opinions on the Yashica I linked to? Spec wise it seems to fit the bill.
  6. Thanks for your reply Chris. Unfortunately there aren't many Super 8 cameras for sale in Ireland at present. If the camera is question is so poor I'll ask the producer to source another. I'll admit the lack of manual exposure fills me with dread, especially if the camera has an unreliable light meter. I did spot a working Yashica Electro 8 LD-8 for sale a few hours away from me: link At 50€ is it worth a look? I'm happy to emphasise the difference between the formats and time periods. The look we're going for is one of an older Super 8 film stock so the 100D would fit the bill.
  7. I've been asked to shoot a short in a few weeks that will use a mix of Super 8 and my own Panasonic GH1. The discrepancy in the look from the 2 formats isn't an issue, as the Super 8 will be used for a film within a film. The camera the producer is providing is one of these: Boots Compact 2000 I've yet to get my hands on the camera, so I know next to nothing about its condition. I've shot 16mm before, but never 8mm. From what I gather this camera does not offer manual exposure. The frame rate and ISO are obviously fixed, but what about the aperture? The only lens info only includes a maximum aperture of f/2.8, but no mention of a minimum. There's no mention of NDs, so if the aperture is in fact fixed how can exposure be controlled? We'll be shooting daytime scenes so would it be fair to say my best option is EKTACHROME 100D? I haven't come across any other options that are easy to buy.
  8. I recently shot my first 16mm film. Thinking I knew what I was doing I told the lab not to adjust exposure or colour correct. The film came back looking pretty rough, the exposure varied a bit too much and 2 shots had an awful pink colour cast. I just shot another film on 16mm last weekend. Is it worth getting the lab to adjust exposure? As a student cinematographer I find hard to be entirely confident with exposure settings. Is it as simple as writing "Best light print" in the instructions section of the neg report? I also pushed the stock a stop, so should I just tell them on the neg reports to process as ISO 1000?
  9. I decided not to risk using the overhead fluorescents. Instead I lit it with a 4 bank kino, an Arri 1K and 3 150w Dedolights. It looked pretty good on the day. Here's hoping the rushes look good!
  10. Thanks for the replies. We're shooting with an Aaton LTR. I wasn't previously familiar with crystal sync motors, but given the age and condition of my college's camera I'm guessing it won't have one.
  11. I'm shooting a film next week that has a scene in a hospital ward. I was thinking of using the fluorescent ceiling lights that are already there to light the background and lighting the actors with a kino flo. We're shooting for black and white so I really want the actors to pop out against the background. Will there be any issue with flicker from the fluorescent lights? I'm based in Ireland and we'll be shooting at 25 fps.
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