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Brian Drysdale

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    Cinematographer
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    Belfast

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  1. Here's an eclipse in India in a BBC series fronted by physicist Brian Cox.
  2. I guess it's possible someone may buy the assets and keep the Cantar audio recorders going as a product.
  3. Lightworks are running a programme on aspects of video creation over a number of months. Each month covers a different aspect, it's not about how to use Lightworks, but each area in general. It could be of interest to students and new filmmakers, since it does a wide range that could serve as an introduction. January covered video editing: https://lwks.com/blog/recapping-new-year-new-edit-a-month-of-video-editing-tips-and-tricks February covers audio: https://lwks.com/blog/recapping-audio-month-a-month-of-music-and-sound-filmmaking-advice March will cover "Learning From The Best. Celebrating Oscar Season by investigating what lessons can be gleaned from the masters"
  4. I shot a film, which had a lot of night street scenes, which used 7222 and Ilford Mark V B & W negative. At the time, I could only get 7222 in 100ft rolls, so only got used on a limited number of night shots, which were lit, but it was quite grainy. Most of the night shots were on Ilford Mark V, I tested forcing one stop, but there didn't appear to be any advantage over just printing it up. Having recently had a 2k scan of the film, the grain on the poor street lighting shots was very grainy, brighter street lighting held up much better, but still had noticeable grain. The lenses used were f1.4 and 0.95, the camera for the night shots had a mirror shutter and was run at 18fps (both for pacing and the extra exposure).
  5. There is an option to fit a video assist, but the quality isn't really good enough to check focus unless you have a modern camera fitted, even then you may have difficulty, since the CP16R doesn't have a fibre optic viewfinder of the same quality as say an Aaton or Arri 16SR. It's of more use for judging performances and framing than the focus.
  6. The CP16R will do the job, although you'll need to have a camera that has been converted to Super 16, or be willing to get the conversion done. The weakness is the electronics, which you should check out before purchase, since repair doesn't seem to be an option with these.
  7. I suspect it's to avoid issues with the audio. There are a range of frame rates that you can convert to, and you wouldn't want the sound to change pitch at the higher frame rates.
  8. I don't use Resolve, but there is online info on changing the frame rate. I've got Lightworks, where you can make a conversion to 24 fps when making a copy of a 25fps sequence and when exporting the 24 fps copy, it's at that frame rate. However, it appears to still have the same running time, so may just have dropped frames.
  9. You may be able to select a 24 fps export on your NLE or change the frame rate of your sequence. The audio will also slow, which may be noticeable, You may not need a pitch change, but that depends on the nature of your soundtrack. There's a 4% speed difference, so the film will be longer. 24fps on NTSC frame rates has its own artifacts, but I guess they're so used to these, they're blind to them.
  10. That looks like a Steadicam Mk2. Compared to the picture, the big difference is the two handed operation, this was developed on "The Shining" by Garrett Brown. Modern Steadicams have a vertical post arrangement on the sled as introduced on the Steadicam III, the high brightness, green CRT monitor with valves has been replaced by a LCD monitor.
  11. The important thing to consider is clearing the mirror shutter of the Arri BL4. A 32mm lens would probably be a good all round lens, although a 35mm is more common. The 25mm may have too much distortion for close ups, unless that's what you want. It really depends on the style you're going for.
  12. LWKS are running an education programme on both Lightworks and editing in general over 2024. https://forum.lwks.com/threads/lightworks-in-2024-—-education-content-community-and-more.250597/#post-272487 It may be of interest to those interested in learning more about post production. February is covering audio. New articles are added regularly and can be found here: https://lwks.com/blog
  13. Although not an Arri, years ago, I shot with a Bolex H16 that had a flicker issue because of damage to the drive shaft that the external motor was attached to. The motor worked fine on a different camera.
  14. LWKS are running an education programme on both Lightworks and editing in general over 2024. https://forum.lwks.com/threads/lightworks-in-2024-—-education-content-community-and-more.250597/#post-272487 It may be of interest to those interested in learning more about post production. New articles are added weekly, which can usually be found here: https://lwks.com/blog Also, on the last Wednesday of every month, a live video show with guests.
  15. "The Wager" has been BBC Radio 4's book of the week: https://www.bbc.co.uk/sounds/series/m001tr2w So you can run the movie in your head.
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