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Timothy Fransky

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Timothy Fransky last won the day on August 29 2018

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About Timothy Fransky

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    Belleville, Ontario, Canada
  • Specialties
    Silent comedy, acting, writing, directing

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  1. I've not posted for awhile, but I thought I'd ask this here, since I'm not certain how to get going. I started shooting a short film a few years back. It's a no-dialogue/silent film in the Chaplin/Keaton/Tati style. Since I'm basically an amateur, I just asked a few friends to help me shoot a couple ideas I'd had. Buster Keaton would start shooting with a beginning and an end, then find the rest as he went. Since I have no one to please, but myself, I followed this model. (I do understand that few pros work like this anymore.) Long and short is, I have the second act "in the can," but I just don't have the technique to edit the piece in the way I want. I don't have the computing power or Final Cut/Premiere skills. Even auteurs don't do everything. TL:DR I'm looking for some help in editing my film. I'm not even sure how to choose an editor. I act, write, direct, and produce, so I'm not totally green, but I'd like to chat about getting at least what I've currently shot cut together. Thanks!
  2. I recently bought an analogue light meter, which should do fine.
  3. I did hear from the app developer. He's provided some clear instructions I'd be happy to share via PM. (Sharing a private email on a public thread seems gauche somehow.)
  4. Thanks for these! I've been emailing with the app developer and I do NOT need an attachment. Incidental light is measured by the "selfie" camera; reflected light by the rear camera.
  5. Speaking as a theatre director, I would be inclined to first ask what the play is. A bare stage is rarely lit, unless it's deliberate for the play. There is no key light in the theatre. It would be too hot. Musicals often use a follow spot for soloists, but it usually blends with the rest of the lighting design. It's a four-way plot to like an actor so she looks three-dimensional. Two lekos on the front, two fresnels at the rear, generally speaking. By all mean use the theatrical instruments available to you. They cast a different glow than film lights. Lekos and fresnels are generally standard instruments. Fresnels with barndoors are helpful for casting distinct shapes, like light spilling through a doorway or window. I would consult a theatrical lighting designer and director in your area for specifics on your shoot. Break a leg!
  6. Which particular piece of hardware is $3? Link please
  7. I was given to understand I didn't require the aftermarket bulb for the app I mentioned.
  8. I've been using LightMeter app by David Quiles Amat. I'm still confused how to get an accurate aperture reading. The dial doesn't really fall in a specific spot. It seems like a range of options. Little help? https://drive.google.com/file/d/1jZtZ1fM_ph5bhTmsBr4TeuCCS15k5afC/view?usp=drivesdk
  9. I believe this show is up for some awards this season. I don't know if cinematography is one of them, but all the same, congratulations! Everybody involved wins in these situations.
  10. Timothy Fransky

    Super 16

    Sorry, gonna hijack. Mother! was garbage, start-to-finish. I didn't mind the visuals so much as the trash medieval mystery play. I have a Dutch reformed education and that's the sort of story every theatre major was trying to do for their independent study. It wasn't clever, shocking, or interesting. I don't know if you've ever heard of the evangelical traveling play called "Heaven's Gates and Hell's Flames," but it's as bad as it sounds. Just zero theological/spiritual understanding. I have nothing against a good spiritual story from any religion (I'm something of a believer myself), but that film was insulting to everyone's intelligence. I mean, Star Wars handles religion and faith better and it doesn't handle it very well at all. Rant over. Sorry.
  11. This is really good work! You guys could open an SFX company!
  12. I would also love to know. I have a B&H 627 I'd love to mate with an period-correct tripod.
  13. I shot this on my Dad's B&H 1206. It came out much better than the wedding. It was a super sunny day also, so that helped. https://vimeo.com/301725724
  14. Not defensive, Nick. Sorry if it came off that way. I was just venting. This was such a good learning experience for me. I'm a hands-on kinda guy. I need physical experience with something before I learn anything. I actually have LightMeter by David Quiles Amat for my android. It's going to come in really handy with my 16mm camera. It's really grey weather in my local area, but I don't want to stop taking pictures. So, I need to learn to shoot in poor light. Head first is the best way I know how.
  15. I had spoken with Adrian before shooting this, actually. He'd recommended shooting at 20ASA. I shot manual exposure because I knew the stock was rough to begin with. I definitely would've had better results with auto exposure. Hindsight is 20/20. And, yes, I actually did shoot at f22, which is indeed the opposite of what I wanted. I don't know how I got the numbers backwards, but I did. Stupid mistake. The smaller the number, the wider the aperture. I knew that. Dumb. And with all due respect, "use better/fresher stock" is the least helpful comment I've ever read. I had this available. I was pretty certain I'd be making mistakes, so why waste good stock? It was meant as an educational exercise, not a proper wedding film. In that sense, I feel this was a positive experience. I made some major errors, but that's why we practice. No one's "special day" was ruined by a bad film. The couple had professional photogs that captured everything properly. No one had asked me to shoot the wedding. I felt it was a useful event to get my feet wet in super 8. Finally, let me say that no one learned anything by not trying. You can't hit a home run if you don't swing away.
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