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Duncan Trevithick

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  1. Thank you, that's all very helpful. I'll have a look into those solutions.
  2. I'm looking to buy some cheap fluorescent tubes which I can easily fix to the set as practicals, similar to Mr Deakins & Mr McDowells' use of them in In Time: Ideally I want them have small fixings on the end for the power cables with a separate ballast, like Kino Flo bulbs, so I can just tape them to the set and hide the cables. I've looked at these but they seem to need a rigid fixing at one end to power them, and I can't see any information about the ballast. I'd like them to be daylight balanced and not too green. Can anyone recommend a solution?
  3. I'm a student prepping for a short that we're going to be shooting in February in London. We've got a fairly good deal on the RED One MX and so I'd quite like to use that camera. However, the director is keen on a super smooth cinematic style of shooting and we don't have the budget for a professional Steadicam operator. I can't find a stabilization system to rent in London that will take the weight of the RED + lenses etc. as apparently all the Steadicam operators have their own ones so the rental houses don't bother. Any ideas?
  4. I'm a second year undergraduate student studying film production in England. This semester I've just started to specialise in cinematography. One of the exercises we were given was to shoot a short scene with the following brief: Here's what I ended up doing: https://vimeo.com/40769245 I'd be really grateful if you could give me some constructive criticism.
  5. I'm looking for a way to create a bright, realistic muzzle flash inside a house which will be seen from outside. I was considering using several wireless photo strobes firing at the same time but I'm not sure if the camera will capture that in one frame. I'll be shooting on an Arriflex 16 SRII. Can anyone recommend a better way to do this? Thanks.
  6. I'm going to be working on a short documentary over the summer and I'm doing some astro-timelapses. I would really like to introduce some camera movement such as a dolly move, and I've been looking at motion controlled camera sliders from Kesslercrane. However I can't find anywhere in the UK that rents them out. Any ideas?
  7. I'm interested in lighting so I think it makes sense for me to buy my own lightmeter. I've used a Sekonic Flashmate a bit at college but it's mainly aimed toward still photography and is (I think) fairly expensive. Can anyone recomend a decent, good value meter?
  8. Does anyone know of anwhere in the UK that will process my Vision 3 and telecine it to 1080p? Also when I say telecine I mean propper frame scanning not a film loop with a video camera or anything like that (which I can do at home).
  9. As in, it came apart on one of the spools in the developing tank somewhere and can't be salvaged. The lab was Film and Photo Ltd. it's the only lab in the UK left that prints 16mm apparently - everyone else just gets their film telecined and edits them digitally.
  10. I was hoping to be able to post some scanned frames today, but our neg split at the lab! So we have to re-shoot the whole thing :(
  11. For the dark scenes with the telescope like this one: I used a 300w fresnel on the actor's left, about 1.5 metres away (because of the tiny space we were in); a 150w pepper with a 3 stop ND gel on it right by the end of the telescope to pick out the metal; and another 150w pepper on the opposite side of the actor with the barn doors closed to a slit and with a 6 stop ND gel on handheld really close to his face to get the catchlight in his right eye. For the other angles, the setup stayed roughly the same.
  12. Finished shooting yesterday, I think it went okay although I couldn't get enough light modifiers in time. I took some stills on my DSLR: http://www.flickr.com/photos/duncantr/sets/72157626124364979/
  13. Okay thanks. I'm lighting the first scene in a few hours, so we'll see how it goes. Luckily I don't have to worry about the colour of the window light because we're using black and white stock.
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