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Brian Drysdale

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Everything posted by Brian Drysdale

  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.
  16. The F 7 is a great head, but it's heavy if you're shooting documentaries (I've used it with an Aaton on one such production). Your F7 looks a lot larger than you need for a 16mm camera, most are closer to the one seen here: http://www.ronfordbaker.co.uk/products/fluid-heads/fluid-7/ As mentioned, try testing the Sachtler 100mm bowl heads or similar.
  17. There's "Saving Mr Banks" about P.L. Travers and Disney going head to head over "Mary Poppins" as he attempts to get the film rights.
  18. I don't know if this can be seen outside the UK, but from memory BBC News usually can. https://www.bbc.co.uk/news/av/uk-england-devon-47213422 He explains his 16mm hand processing methods.
  19. Just to add that LWKS are doing rolling fixes on V2023.2, so it's worth regularly checking for updates. It's something that they've been doing this year, since crash logs are now easily uploaded on the V2023 series.
  20. Unfortunately, history is full of such characters, although if wacho is a term to cover them is another matter, and they still exist in various forms today. A number of films do feature the darker characters from the past, some of whom still have an affect on life today. Don't watch feature films to learn history, but care has to be taken not to mythologise these people, as happens in some cases.
  21. There is a plunger type device for the internal light meter on the SR, which would probably need to be deactivated at the back of the lens. I used my Zeiss zooms with an Arri bayonet adapter onto an Aaton and a CP16, but unless there's a clearance issue with the Arri ST mirror, it should fit with a mod.
  22. Interestingly, Robert McKee, the script writing guru used (may still do) Casablanca as a case study in his Story workshops for scriptwriters. Looking at the writing process, it's far from what could be regarded as the work of a single writer, with a number of writers being involved It was shot in sequence, apparently because only the first half of the script was ready when they began shooting. Maybe all this adds to the complexity.
  23. Here's a review of AI software: https://www.provideocoalition.com/review-waves-clarity-vx/
  24. An article on the editing of "Killers of the Flower Moon" https://www.redsharknews.com/eight-editing-lessons-from-martin-scorseses-killers-of-the-flower-moon
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