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charles g clark

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About charles g clark

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  • Occupation
    Camera Operator
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    London

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  1. Look beautiful Uli, I’m inspired to dust off my moviecam- I think I have (possibly) the last 6000 feet of fuji eterna in existence... im curious- what sort of price per foot can you get at Kodak for processing and tk these days? Do they deal with small minimums? Not used film in nearly 10 years..! cheers
  2. Hi, I’m having a play with my sr3- I got this video assist camera on ebay years ago and never used it for anything, mostly because the camera is supposed to plug into an anti flicker unit that also drops the 24v power from the camera to 12v for the Sony ccd. basically the unit is a Sony ccd camera with a specialised interface bolted on the back which connects into the standard 12 pin Sony connector beneath. anyway I am planning on giving it an independent 12v supply and connecting the composite out to the BNC on the back of the unit - I’ve done continuity test with my multimeter to get the pinouts - my question is.... what would I do with the composite ground? I’m going to carry the other grounds back to the battery through the seven pin Fischer - can the composite video ground go with this? Or does it wire into a coax cable? Forgive me video wiring is not my specialty and I’m only having a play around before I inevitably just buy an HD c mount camera to connect to the optics on the elbow thanks in advance
  3. Thank you! I’ve often thought about using china balls but never actually got round to it, I had no idea how the electrics worked - but looking at it it’s definitely something I’m going to want to try in the future- I was pretty nervous with a light and soft box hanging over the table (well within the weight limit of a manfrotto 085b but nonetheless) and would have enjoyed it more with a lighter solution!
  4. Thank you! Yes the big soft box in the sky is a near permanent blessing/curse!
  5. If you can live with a belt hawk woods sell one that takes two v locks and combined them for a 24-28v source for about £280
  6. Ok so in the end I didn’t quite go for the same look, I wanted it a bit warmer and softer and had to lose the idea of the hot spot in the centre. I had an aputure light dome with a Cto’d 120d hanging just slightly upstage of the two parents in the scene and had 2 arri 300w on super clamps on the bookcases blackwrapped to the nines to get a little bit of backlight on the actors. There’s another aputure 120d bounced off of a the white ceiling and really dimmed down to get a bit of fill. I really wanted to get some moonlight behind the blinds but with limited resources, crew and money we had to cover it in black paper and curtains and just shoot! Didn’t quite succeed with cutting the daylight out but we can drop that down in the grade. Black pro mist 1/4. Ive also attached the morning after breakfast scene just because I’m really proud of how it came out! It was an available light shot- every available light I could grab! I wanted hot misty highlights with a hard backlight and I’m stoked with the final image. It was a usual British cloudy day and the actors are backlit by a 2k arri studio just out of shot in the top left about 4 feet behind, a 4x8 silver reflector just to the right of camera with an arri 650 to add some fill. Outside in the garden are 2 aputure 300ds doing their best. Black promist 1/4 again and some haze
  7. Thank you David for that incredibly generous, detailed and informative reply. The table we’re using is smaller and I have an Aputure light dome and led light more or less the same size as the table, I’ll have a go at booming it over as a top light. The hotspot in the centre of the table might not be doable with the height of the room to get it under the soft box, but thankfully I have time to experiment (and the location is a friends house so I’ll be able to try it al out first) I did read somewhere whilst researching that there is a light hidden behind the flowers in the centre to add a bit to Thora Birch. Anyway thanks again for that awesome answer! I really appreciate it. I’ll post back with how it went!
  8. Hi all, I’m going to be shooting a dining room scene with three people for a short film next month. I was inspired years ago by the dining scenes in American Beauty (as attached) I will be shooting on location, there are bookcases I can clamp small lights onto, probably can use some boom arms and c stands. In the attached photo, how did Conrad Hall achieve such control on the keys for Kevin Spacey and Annette Benning in this wide shot? It seems to be incredibly precise Reverse keys- could it be fairly hard lights? obviously I don’t have Conrad Halls experience, talent, crew, budget or resources, but if you had to attempt something similar using small fresnels how would you do it? Or would you go for a different style? thanks in advance and please excuse any naïveté
  9. Thank you again for that information Dom, it does appear to have some v markings so hopefully it’s do-able, fingers crossed! But I’ll stand back and get a pro to look at it from here! many thanks Charles
  10. Hi Dom thank you for your reply! I figured they must be multi start threads - but 10?!! Ouch! I think I’ll take your advice and send it in! Hopefully it’ll stay in the realms of economic viability. Although quite likely it won’t given the relatively low cost of replacement these days but we’ll see. Thanks again
  11. I’m posting this in the hope there’s a lens tech on here who can help! i have the mk1 zeiss superspeed 12mm 1.3 as shown in the picture... and it’s in pieces. (Long story) none of the threads are stripped, it’s greased and each thread goes into the other well but I can’t for the life of me figure out how to put the thing back together. does anyone have any service information on the actual steps and markings etc to re assemble? I figure there must be a precise sequence to follow and I don’t want to keep wildly stabbing in the dark! If it’s a send off job please let me know, I can’t see what I’m doing wrong and don’t want to damage any of the threads! Thanks in advance!
  12. Hey guys, theres a thread over at lift gamma gain discussing this, with some great tech bites from the di colorist (who I believe also worked on Christopher Nolans large format films) The 15/70 shots were presented at the same aspect ratio as a conscious discision by the film makers
  13. Hey Tyler, According to the di colourist it was finished at 2k anamorphic, 2048X1716. Definitely would have benefit from 4k screening but not quite all the way there
  14. I believe the di resolution was 2k anamorphic (2048x 1716) so may look a little soft at the bfi, especially compared to Dunkirk. Incidentally I’ve seen the film a few times now and when I looked out for that shot specifically I didn’t find it too distracting in the course of the scene.
  15. Saw it today straight after watching it (benefits of cineworld unlimited) 😊 Knew next to nothing about it going in, not even seen the trailer. I did get lost in the cinematography, Matthew Libatique did a great job, loved the gorgeous images. Though the grain was very low for cropped 16mm, although that may be projector focus, only really noticed it a couple of times in close ups on skin. I found myself thinking too much about the metaphorical meanings a bit too much that it took me out of the film a bit too much to really enjoy it, its slapped on a bit thick and obvious for my taste. (Wont post spoilers here) Interestingly, the baby was about the only thing I knew before it started, and was feeling a bit apprehensive, but by the time you get there its so obvious that this is metaphorical that it didnt cause the kind of anger and upset I though it would. Very brave and bold, but after the midpoint I just found myself thinking too hard about subtext to savour it. Worth a watch and nice to see an art film with a wide release, just not my cup of tea
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