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Guy Meachin

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About Guy Meachin

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  • Birthday 12/14/1982

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    U.K.

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  1. Thanks for the info everyone! Reliable as usual!
  2. I know this doesn't exactly fit the cinematography thing here but I could do with some expert advice! I shot a commercial the other day on a Sony 750, I've now been left with the responsibility of editing it also. I'm using FCP 4.5HD, and will be capturing my footage from a JH3 deck to a G5. What cable do I need to connect the two together and is it possible? Thanks v much in advance! Guy
  3. Thanks for your reply, it's interesting to hear what you think. Here' SOME justification for the questions you raised! I think adding credits to the beginning is a good idea and something we did consider doing. I didn't want to concentrate too much on any of the workers at the dock because they themselves are not important to the film, it is more about the dock environment. The sounds at the beginning are to arouse a sense of curiosity. They are inriguing and were intended to give a feeling of claustrophobia and disorientation (like that of someone hidden in a container). I wanted to establish the docks as being somewhere bleak, they aren't beautiful to look at and it's cold, damp and windy. I think maybe a clos-up of the docker falling over would have been a good idea and a POV like you said. You have to remember though that this was the first time we'd worked with 16mm and I only had 4 rolls for the whole film. So we had to be economical! Though I would have liked to shot more! Plus I think the fact that we don't come back to him after the Imigrant has fled is good, we don't know what the docker is going to do, is he giving chase or not? Like the immigrant, we the viewer don't know. The main intention for the film wasn't to spoon feed the audience but let them fill in the gaps themselves. The message of the film was more important. Like you I don't think the breaking in on a black screen worked that well, we were a bit restricted by the location to find somewhere he could actually break in. The tracking shot you mention is actually a steadicam move. For this I chose a wide lens to illustrate the vastness of the building and to establish the interior. As he moves deeper into the building the lens gets tighter. I agree I should have had a light for his close-up after he sits down, I think the 575 outside would have been nice to give the shot more contrast. I wanted an eyelight for this shot like you mentioned but because it was another steadicam move it wasn't possible after the camera had settled in it's final position. At this point we start to understand how he feels. In terms of make-up it was something we didn't look at enough, it would have made a big difference and we'll invest more time into in the future. For the office scene we wanted to shoot both clos-ups but at this point we were desperately close to running out of stock with a days shoot left. I had to make a decision to scrap Ste's close-up and the scene does suffer as a result. 1 more roll would have been nice. In terms of darkness as a transition, the building is very dark indeed, it's ghostly inside, if anyone ever gets the chance to visit, I'd highly reccomend taking a look! The message of the film isn't dated at all in fact it couldn't be more relevant. It's actually Kosovo the immigrant has fled during the Crisis in 1999. Hundreds of thousands of 'forced migrants' left the region for fear of losing their lives some having already lost family in horrific circumstances. The point of the film is that, this only happened 7 years ago and clearly we still haven't learnt the lessons from two world wars. Look at the situation in Iraq at the moment. Milosovic' suspicous death recently is a small reminder of the horrors that took place. Also the film looks at societies attitudes towards immigration. Immigration problems in the UK is big news at the moment!! Though the man with the stick does appear a little over angry, you don't have to look far for people like him - fascists and bigots! "Camera shake on the last shot? It wasn't a POV so why?" Not sure what you mean by this, it was hand-held. Thanks again, I'm not disagreeing with what you've said just trying explain our intentions - some of which maybe aren't as clear as they could be - so thanks for your feedback!
  4. The whole piece was meant to be fairly dark apart from the beginning sequence obviously. The building we shot in is very dark anyway! (Pushed a stop for the steadicam even on Zeiss 1.3's!), it is 200 years old and we wanted to try to capture the sinister element of the fantastic location. Out of interest which shots do you think are inappropriate? Maybe they might need changing? Thanks Guy
  5. Hi Morgan, thanks for your reply. In response to the questions you raised re the daughter. The script doesn't reveal that Mike has lost his daughter until he says it at the end. Though we get a hint of it when Ste says near the beginning "you've got to move on, you can't bring her back". It is part of the eliptical narrative in the film, which is why the film should be viewed several times for it to be understood properly. Nevertheless maybe it still isn't clear enough. The reason for the such a coincedence as you mentioned, was because the message the film is trying to communicate is that the immigrant has lost his daughter through war (something completely out of his control) Mike lost his daughter through different circumstances but again out of his control. Mike empathises with the imigrant and helps him escape the other security guard who represents the ignorant and fascist sector of society. All this could be argued all day but that was the intention of the origonal script. Maybe it isn't clear enough! You raised an interesting point with the headspace, we've actually cropped the film heavily in post so that is jusyt a case of changinf the offset in FCP. It's something I will look at changing. Thanks for the feedback. Anyone else got any thoughts?
  6. Please take a look at my graduation film and see what you think! Still need to re-cut a few things but nearly finished! Choose 'Destination UK' from the side panel! http://www.media-arts.mmu.ac.uk/cfv2006/ Thanks! Guy
  7. Thanks for you replies guys, what steps can I take to minimize grain? Is overexposing by a third a good idea?
  8. Has anyone used the Fuji 250D or 500D film stocks? I'm shooting a daylight interior inside a huge old brick warehouse. Inside the warehouse is very dark, but with a reasonable amount of light leaking through the windows that then fades towards the middle of the building as seen in the picture that has hopefully attached! As you can see there is a large amount of contrast in the building. How will the 500D react in these conditions? Is this an appropriate stock? I'm using diffused 2.5HMI/575HMI's for some extra fill where necessery and some 4' Kino's for the closeups where detail in the subject is important. How does this sound? I'm guessing I'm going to have a fair amount of grain but how can I minimise the grain? I'm a student who's managed to blag lots of equipment for free and I'm shooting my degree film. I've used 16mm before but nothing this ambitious, so go easy on me! :D
  9. Guy Meachin

    Light Meter

    Which of the Sekonic light meters are the most popular for shooting on film? Are some only designed for photography? Can this one be used for shooting on film or is it just for photographers? I'm confused :huh: http://www.microglobe.co.uk/catalog/produc...roducts_id=1018
  10. In this incredible scene from Road To Perdition, any ideas what type of light would be used for this shot? Perhaps a bank of 12k's??? How did Conrad Hall A.S.C. manage to get the light so white? http://www.tccandler.com/road_to_perdition_still.jpg Thanks Guy
  11. Thanks for the comments guy's. I was going to look at Pearl Harbour as a mainstream example (or any Michael Bay film). David mentioned the script falling short of the cinematography. I always assumed the cinematography always had to follow the script, or must come second to it. I'd never thought of the cinematography being too good for a film only it taking away from the story by being too spectacular. Not sure if that makes any sense. How could this happen then - employing a too good a cinematographer? Surely the cinematographer would be employed on the strength of the script or for budgetry reasons? David have you ever turned down a job because you thought i fell short of your ability? Hope you don't mind me asking. Thanks Guy
  12. A grip forum would be great, like someone said before there is little information about the Grip! Can only be a good thing!
  13. I'm writing my dissertaion on beauty within cinematography. I'm discussing how cinematography should not detract from a film or overpower it to an extent where it distracts the audience. Can anyone think of some well known example of this?
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