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Liam Miller

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  • Occupation
    1st Assistant Camera
  1. Everything Stuart said above is correct. In LA there's no point in joining the union if you haven't furnished proof of eligible days to contract services. The other regions of the US do not require these days (or the safety classes you're required to take), but you won't be able to work in California. If you don't have union contacts I don't see any reason to make the jump and join - but you can't accept union jobs if you aren't in. It's kind of a catch 22. The only way to "shadow" the camera department on a union show is to find someone who's willing to bring you on as a Camera PA or trainee. In my experience I have either known the director or 1st AC who was able to make this happen. My classification is 1st AC, but I've been able to 2nd as well. The cost to join 600 as an AC is about $7,000. If you're on a show that flips I've heard people pay as little as $150. Your quarterly dues depend on how much of a deposit you put towards your entry fee. My roommate put down about 2k and her dues are about $250-$300 every quarter. Being 600 and/or on the IER doesn't guarantee you work nor does it help you get work. The IER is also known as the Producers List. Producers have access to this list if they're absolutely at a last resort to find crew. I worked at a rental house at the beginning of my career in LA and made some great union contacts from my time there.
  2. Thank you, David. Great news. My camera was recently purchased from a guy who serviced and refurbished cameras, though there's a chance he may not have tweaked the meter. I intend on using my own light meter, but I wanted to get an idea of what the camera was "thinking" to begin with. Thanks again :)
  3. Hey guys. Recently bought a couple cartridges of film for a small trip I'm about to take. One cartridge of 200ASA Tungsten balanced, and one cartridge of 50ASA Daylight balanced film. The problem I'm experiencing is that my camera doesn't technically detect 200ASA Tungsten balanced film - it jumps from 160 to 250. The camera also doesn't detect 50ASA Daylight balanced film - it jumps from 40 to 64. How many stops of light will I lose? Do I need to start carving away at my cartridges? Advice? What ASA might my camera assume I'm shooting? I'm still in the experimental phase of using my camera, so tips on this would be fantastic! Cheers
  4. Hey guys Just got my [running] 1014-E in and attached my anamorphic ISCO lens to the front (quite the beast) with a Vid-Atlantic clamp. Vignetting stops at about 25mm, which I'm pleased about. I have the camera lens and the anamorphic attached to each other via a 58mm rota pola which I popped the glass out of so I can quickly realign the lenses with each other after focusing. I'm going to attempt to build some kind of lens support with mini 15 rods, but I see that the camera lens breathes when focusing, which will inhibit me from securing the anamorphic lens in place, but I can't complain - it is what it is! I've taken 1/2" white vinyl tape and marked along the top and bottom of the anamorphic lens to the best of my ability to indicate the positioning of the anamorphic element. I'm wondering what is the best method of ensuring accurate alignment after focusing on the fly? I'm going to be disappointed if my footage comes back distorted due to a minute alignment error on my part. I will be filming a wedding while vacationing in Europe this summer. Needless to say, I'm excited about shooting anamorphic, despite the costs of using film in a digital age. Aside from this, I also have the task of removing 30+ years of accumulated cigarette smoke. A thorough cleaning has taken a lot of it out, but it's still lingering. I've been told to leave it outside to air out, but I don't exactly like this idea seeing that it is a camera.
  5. Hey guys. I realize anamorphic Super 8 has been covered multiple times on these boards, but I figured I would post my situation and see what my options are. I currently have in my possession an [2x] ISCO Cinemascope Ultra Star Plus 21 projection lens. It is quite small and compact, and the lens unscrews into two pieces, separating the anamorphic element from what I can only describe as a magnifying element. I have used the anamorphic element to desqueeze scope films projected through a 4:3 native projector, and the results have been pretty awesome. I'm in the process of purchasing my first 1014-E, which I believe has a 58mm thread size. I am currently unaware of the thread size of the anamorphic lens, but I have a lens technician friend who is going to measure it for me so I can attempt to locate/purchase the appropriate step up/down ring. I understand that should I decide to mount the lens to the front of the 1014-E zoom lens (a 7-70 macro), that my focal length would probably have to remain pretty consistent. Anyone have any experience in attaching anamorphic lenses to the front of zoom lenses? Vignetting will most likely occur on the wider end, but once you zoom in to eliminate the vignetting, are you free to play with the remaining focal lengths, or will zooming past the "sweet spot" of the anamorphic element cause distortion? I've seen filmmakers use "mesmerizers" in front of their lenses before, and this thought always crossed my mind. Any help appreciated!
  6. Hey guys I'm in the process of deciding which camera I would like to purchase. I've narrowed my choices down to the 1014 E or the 1014 XL-S. Both are similar, but there's a significant price difference (which I'm willing to maybe pay). Which one would you choose? I like the fact the the 1014 E has the capability of going to 54fps, but the XL-S just overall looks like a nicer camera. The whole sound recording aspect isn't very useful to me as those cartridges are no longer made, but the XL-S can be converted by Pro8 to Max 8, and have a crystal sync installed for sync sound (I'm not sure if they can mod the E - I've emailed them asking). Pros/cons appreciated. This will be my first Super 8 camera and I want to choose the nicest model in this range.
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