Ben Luke Taylor

Hi guys, this may sound bizarre but when unloading film when you haven't shot to roll out (which I'm aware should never happen) how do you actually get exposed film out of the mag? Is it a case of cutting close to the magazine throat then taking out the exposed film thus leaving anything left on the feed side as a potential short end? Ive seen many videos on how to load but not how to unload. 

Any tips much appreciated.

Thanks, Ben

UK Production News.

I think its about £10 a month, gives a list of all features and TV dramas in development and pre-production. Normally has about 20 pages worth of jobs with any contact details that it has attached.

Yes as Phil said most people have people they want to work with, but the job I'm currently working on came purely from me 'cold calling' the production by sending off my CV to the contact shown, a week later I got the call and I was on the job…

Normally I get my work through a loader or focus puller I know, but this time it came out of no where almost, I had never worked with any of the crew on the shoot, nor the production company. And before its suggested, no, its not a 'low budget drama where we get paid expenses only etc.' so yes, these sites do work, and even if you only get one job from it in the whole year, you're still going to cover the costs for the newsletter, so its worth a chance surely?

Also, I have just counted 48 features in the UK on the latest newsletter I was sent out, contrary to what Phil has said...

You can calibrate the remote focus so that it only operates between two certain points on the lens, so you can set it so that it will only focus between 5ft and 15ft for example, meaning that you're small adjusts will be easier as the pulls on the remote focus ring will be bigger than if the wheel had to accommodate min focus - infinity.

Hope I've explained that well…

When slating for a pick up, how should the board be marked?

New slate number, same slate number new take?

Thanks!

Did a job with the 5D using Zeiss Compact Primes and the focus was always slightly out compared to the markings on the lens. So what was sharp at 5' would actually be marked on the lens at 5' 6" or whatever.

The puller said it might be due to the adaptor and positioning of the sensor in the camera, wether thats true or not im not sure about…

So might just be worth double checking all the witness marks on the lens line up before shooting!

When putting a filter tray with a filter in to the cameras matte box, which is the correct way to face the tray?

Some people have told me the tray should be put in with the back (where the release clip is) facing the lens, so that if the filter were to fall out, it would fall back on the lens rather than come straight out of the matte box. Yet other people have told me to do it the opposite way to avoid damaging the lens which would be worth a lot more to replace than the filter if it were to fall out.

So which way is the 'correct' way, if there is one, or is it just personal preference?

I haven't shot any digital but with time code all you have to do is make sure the camera and sound are rolling. If the camera records time code on the edge, you don't even need a slate and if it doesn't all it needs to do is film the numbers rolling. Clapping the slate is really just a back up as is calling out the numbers

Yes where i work a majority of the time we shoot digital (XDCAM).

I have never seen a slate on set as it is all done by time code!

But then again, us camera assistants also have to do the grip work instead...

Cool! Sounds like a good investment. I wonder where I can get one from? I live in the UK.

 

Thanks !

http://www.panavision.co.uk/panastore/default.asp?cid=36&clr=true

The back focus on the lens has probably just been knocked.

http://www.mediacollege.com/video/camera/focus/back-focus.html

You can also make rubber marks, they do the same kind of job as sausage markers, but you can make them yourself for a lot cheaper!

Basically, get a rubber mat (the kind you use to cover cables on set) cut them into rectangles, and tape t marks onto them. Use them on wet floors, grass etc where your tape wont stick.

I have found luminous yellow, orange etc to be really handy for marking actors during night shoots when blues and blacks will be hard to see.

Hi,

I'm wondering if anyone knows if any rental houses in England offer some kind of internships or work experience? And if so which.

And if anyone on here has taken part in an internship or similar with any rental houses what kind of benefits did they get from it?

Thanks in advance.

Thanks again for the replies guys.

I am aware that there arent many English films around, and England is generally a hard place to get work in. Although I am still prepared to carry on trying to work.

Just yesterday when talking to a DoP he was saying how well I am doing for working where I am at my age, so surely this will give me a good impression when applying for a internship at a rental house. The link Phil shared I think has been directed more to people that expect to come out of education, and the next week be directing the next £200M feature film. I know that I am just a AC at the moment, and I will be for a hell of a long time, but I see some of the people I am working with at the moment, and they getting work in London all of the time, but they have a lot more experience than me, and I know that until I have that experience, I wont be working out of the companies I am at the moment.

So, Phil, I dont disagree with you at all, I know people are struggling to get work, but I also know some people who are rolling in it, I suppose its all a case of who you know, and where you are. I also know people who have left the media industry and are making a hell of a lot more money now, but after just one year, I dont want to give up, because this is the job I want to have.

Where specifically in the NW Ben? Only asking because I'm wondering if Screen Yorkshire still do their Year-long Trainee scheme. If so, it might be worth checking out. The first Focus Puller I worked with was selected for it and he's doing well for himself. As far as I remember, they fast-track you into at least 5 major Productions, giving you a good head-start. I was in the runnings for it myself but ended up moving to London.

 

As for Alex's suggestion on Rental Houses: Provision in Leeds were a good place when I was around. They always had showcases for the new Camera Tech. and/or Open Testing Days, so it might be an idea to visit just for that. Of course there's always Panavision in Manchester and Arri in Leeds as well (I think?). Get in to those places and ask to study/play around with the Gear, both new and old. They normally set-up tutorials etc.

 

Remember that Wales has become some-what of a hotspot for certain Productions because it's proving a bit cheaper to film over there. If you're close enough and willing to travel it might be a chance to get on some good stuff.

 

Looks like you're trying to avoid Film School/University which is a good thing in my eyes. I made this mistake and it's only put my career on hold whilst I finished my degree. Helped me to prove creative ability but unless you're planning to state you're a DoP straight off the bat it can get in the way of being a Technician.

 

Good luck and hopefully we'll bump in to each other one day!

 

Sam

Hi Sam,

I'm based in Merseyside, and currently do most of my work in Liverpool. Although I would definitely consider the Screen Yorkshire training you have mentioned, I will look in to it right now actually!

I have been looking into rental houses, there is Panavision and Arri both in Manchester, which I have been considering sending an e-mail out to, however I am getting steady work at the moment at Lime Pictures, so I also don't want to shut them out right now until work starts to die down a bit, but then would that be more likely that rental houses would be less likely to take me on for some kind of work placement as they probably wont be trading as much in the winter?

Yes, I did an apprenticeship in Manchester which got me work experience at 3 companies, 2 of which I work for at the moment, the other closed down, and I feel that I can show I have a few media related qualifications (which I have found are about as worthless as the paper they are printed on so far) but more importantly I have the actual experience to do my job as an AC. I certainly wouldn't go to a job claiming I am a DoP when I have only been a 2nd AC for just over a year now!

However I still haven't had any luck when contacting any production companies outside of the ones I have worked for so far which is kind of frustrating. Am I best calling the companies up and asking to speak to their production offices and putting my name forward for freelance work directly rather than just sending out an e-mail which will probably never get read?

Thanks for the advice you have given so far, and any replies to my new questions would be great!

Ben

Thats great Stephen!

Thanks a lot!

Hi,

I have seen people with Arri floor bags around, but never had the chance to ask where they bought them from.

I have looked on the Arri website but no luck there, so I was wondering if anyone knew of any websites that may stock this bag in the UK?

Thanks in advance!

This is the bag…

Well, what do you want to progress towards?

I want to stick down the camera route, progressing to 1st AC, operator, DoP eventually…

As you are a DoP yourself, what kind of route did you take when you first started out, and what do you think I should be doing right now?

Thanks Alex, I'll definitely look into that.

But as I am trying that do you have any more advice or things I could be doing in my spare time to help me out a bit more?

First of all, hi, my name is Ben Taylor and I am relatively new to this industry. Im 18 and have been freelancing as a camera assistant at a small corporate company, and a second AC for a Channel 4 drama, which also involves some grip work (basic operation of a Fisher 11). I am based in the NW of England.

The work that I have done so far seems to always get positive feedback from all members of the crew, from director, to DOP, operators and AC's and I just generally want to progress in my career. Most of the operators and DOP's that I speak to say that the company I am currently freelancing for is a great place to start, but I shouldnt look to spend the rest of my life there.

So I am generally just trying to find out how I can progress, and what are the best ways to do this. I have experience working with DV and XDCAM so far, and have also worked on a 3D short, but only as a runner.

Any tips and general advice would be great, and if anyone from England knows of places worth giving a call or dropping an email to would be a big help too! Thanks.