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danny bartle

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  1. here is my email address also: jamie at blueskymedia.com.au
  2. here is my email address also: jamie at blueskymedia.com.au
  3. here is my email address also: jamie at blueskymedia.com.au
  4. Bolex Switar 10mm RX Wide Angle Lens, Mint condition, one the best i've seen, comes with original case which is like brand new & lens caps, $375 Bolex Switar 25mm RX f1.4 Lens, Exc Condition, comes with lens caps, $150 Can email photos of both lenses & do trade via ebay/escrow if necessary. I have a feedback rating of 38 at 100%.
  5. Bolex RX5 Reflex 16mm Camera, exc cond, all speeds run perfect, had recent full service, can email photos & do trade via ebay/escrow if necessary. $875
  6. Original Bolex Paillard 16mm Underwater housing, extremely rare item, build no: 350, with original wooden case & accessories, can email photos & do trade via escrow/ebay if necessary. $675
  7. Hi James, Where are you in Australia? I work mostly in TV so just email me if you'd like to know anything. I'm sure Dominic will have some good advice too.
  8. Daniel & Landon... Sorry guys but you still have no concept of the economics of life. Remember that jobs in the film industry are hard to come by. Not only that, but how much time & money have you spent trying to break into the industry? How often do you think about working in the film industry? How much time have you spent researching films, books, online forums, discussing the industry, sucking up to the right people, etc. Film jobs are not like "normal" jobs. Normal jobs are much easier to come by, generally less stressful, usually pay better & have better conditions. Lets say you finally break into the film industry after years of freebies, hard work & years of research, what happens if you make some mistakes on the job? Maybe upset the wrong person & says "you'll never work in the film industry again"? Most people who work in the film industry are very devoted, have films 24/7 on their mind so its a "full-life-time" job, not to mention are very good at it. With many regular jobs you just rock up to work, clock on, get through the day, clock off & go home knowing theres plenty more work tomorrow, & usually still get paid reasonably well in comparison to many film jobs. If you get sacked from a regular job, who cares? You'll find another job somewhere else usally quite easily. Its funny ya know, here in Australia we have heaps & heaps of jobs in the building industry. Many of my mates work in building & are earning anything between AU$50,000 to $100,000. They have little stress, know theres heaps of work & once they clock off the job exits their mind. You never seem to clock off with a film job, you're constantly trying to educate yourself after hours, its your life.... Film crew should be compensated appropriately, simple as that.....
  9. hi all, sorry for the silly question but what exactly are video dailies? Also what is Kodak Keykode? Are dailies basically low grade telecine of the processed film onto dvd, vhs, etc or is it video from the video assist on a film camera? The reason i ask is i've been shooting a fair bit of 16mm neg film lately & my actual usage ratio varies a fair bit (i'm shooting surfing so not all shots are keepers) To save money by not getting everything high grade telecined, am i better off economically getting all the neg film low grade telecined onto dvd or vhs with some type of timecode which matches the neg? Is that what Kodak Keykode is? Hope this all makes sense...
  10. no need to reply.. i found the answer today & it does need a motor... thanks...
  11. hi all, I have a RX5 & will be borrowing a 400' magazine for it but it doesn't have a motor. Does it need a motor on the magazine for it to run? Thanks...
  12. ok so theres quite a difference between a back light & hair light? yes David, i did mean black in terms of negative fill. yes the term black reflector is wrong, should be called black absorber! i've been wanting to experiment with a black flag in an outdoor shoot i'm doing for one of my short films so i thought i'd ask for any advice before i try it out...
  13. hi all, 2 questions.. 1: In what situations would you use a black reflector? i understand it absorbs light, so it could eliminate reflections from a side wall etc so i assume it gives you more contrast... but in what type of situations would you use it as opposed to using a silver reflector? (perhaps this is a broad question) 2: When using a hair light or back light, how many stops should this be over your key light to be effective? thanks.....
  14. thanks for the explanation David... the scene i'm shooting is not showing a particular place which is polluted, its more being shown as a generalisation of how a place can look once its polluted. thanks for the still frame too. i've been considering using some tri-x super 8 as i have 2 rolls in the fridge but since i'm cropping the super 8 image to a 16:9 ratio i'm not sure if theres enough room on the 8mm frame to play with... plus i think 16mm would be more stable.... i'd like it to look dirty & gritty but don't want an unstable image or pixelation....
  15. what did you mean by that? so double-x seems to be the choice. what about a 25A red filter, will this help?
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