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Matthew J. Walker

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About Matthew J. Walker

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  • Birthday 07/23/1996

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    New Jersey
  • My Gear
    Arriflex 16SRII Highspeed & Zeiss S16 Super Speed Lenses, Preston Micro Force V+F Zoom Control, Media Logic Speed Control 4

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  1. The quote "Fake it 'till you make it" mindset is not very beneficial in the entertainment industry. It just wouldn't work. Maybe for Soundcloud rappers.
  2. @Phil Rhodes is right it's the LEDs. It usually happens with those cheap string LED lights used for Christmas trees or outdoor decoration. In fact it's not just cameras that pick this up, but rather the human eye picks this up as well. For those who don't believe me, buy a set of LED string lights, set them up in a dark room, then wave your arm left and right in front of yourself and you will actually see this ghosting yourself in real time.
  3. I'm no professional, but definitely don't use 250D for night scenes unless you want an overly warm look (Assuming you're shooting under soft white light). Otherwise you'd need an 80A filter, effectively losing two stops of light. At that point you're at 64 ASA. Not fun. You'd be better equipped if you shot the whole thing on tungsten film, because daylight scenes would only require an 85 filter in which case you would only lose two thirds a stop of light and you'd still be at 125 ASA which is actually a very tame and versatile speed to be working with in daylight. As for image continui
  4. When examining the image, It's safe to assume the camera was balanced at 3200K judging by the actual light bulb, which looks to be a clear, non-frosted forty to sixty watt soft white light bulb. Accordingly, when looking at the reflection on the left side of the eyeglasses, I can see it matches the color of the light bulb nearly perfectly. So the key light is also around 3200K. It's difficult to tell where exactly the back lights are positioned, but it's rather obvious there is one on the left and one on the right. I believe the lights were the typical cool blue color before later being shifte
  5. Thank you Steve for both your posts and your patience with my questions!
  6. I remember around this time many photographers, especially landscape photographers on YouTube began shooting on stills film and comparing them to digital. As you know, YouTube has a great deal of influence on my generation, particularly people born in the mid to late 90s and early 2000s so all of these people who were subscribed to these channels were blown away by how, to not start an argument I'll use the word "stylistic" the film looked when compared to the digital image. This took on a life of it's own and although a finite amount, some YouTubers started even shooting motion picture film,
  7. Broken down brilliantly. One last question. Here you say while running the camera, the sync box adjusts the frame rate either using a cable, or like in my case, the provided magnetic pickup while at the same time one would adjust the timing of the electron beam using the phase knob to get each shutter revolution opened and closed so that the electron beam starts and ends perfectly from the top and bottom of the screen without the beam going back to the top a second time during one exposure. However, here you say a prerequisite of filming a CRT television is that you need a 144
  8. It's my understanding that to eliminate roll bar from a CRT or 'Tube' TV, one can use the combination of a 23.967 framerate and a 144º shutter. This specific combination, of course, only works with NTSC (60Hz) televisions only. The other PAL (60Hz) methods obviously don't pertain to my situation. Anyway, It just so happens I will be filming a CRT TV, however I own an Arriflex SRII which has a fixed 180 degree shutter. I am able to use a speed controller to set the framerate to 23.976 but that alone won't exactly fix the problem, but rather keep the black bar in a fixed location. I want to elim
  9. Very attractive lighting. I believe it was Dean Cundey who once said something along the lines of someone asking him once "Well where is the light coming from?" to which he responded to them "The same place the music comes from". It's refreshing to see something stylishly lit in 2020 where many people seem to digest the whole "practical lighting" thing in a far too literal context.
  10. This is for some reason an incredibly annoying trait I find most young people possess. hardly anybody around my age is willing to take risks and fail, which inevitably is the only way to learn unless of course paths are crossed with a more wise person who can spot a dent. Now, this may simply be people blowing smoke up my ass, or me blowing smoke up my own ass, however... more often than not, people of my age are impressed with things I do that are, at least what I believe to be things that are not difficult to do. From something I built, or did, or wrote, or a moderately though-out idea, that
  11. @David Mullen ASC gives a pretty insightful, and I think, tremendously rational timeline of what anyone aspiring to be in the industry should see regardless of ethnicity, gender, religion, or morals in the sense that one should be prepared for it to take much longer than they would probably like yet not let it discourage you from staying full steam ahead. Actually right now there's more diversity in Hollywood than ever before. Back on topic. I can also agree with@Tyler Purcell. Being in the city of topic is undoubtedly giving him a first hand look at the state of the industry right now, most l
  12. I can't tell if this is satire or sarcasm but I like it.
  13. Funny you mention skid row. I once had the bright idea of making a music video for a rapper for free who I saw perform at a club my friends and I went to. The guy's Instagram was strange and full of weird posts that didn't make any sense. Sort of like a manic person's diary who overly liked dark subjects. Ignoring my instinct, I liked his style and his music so I went out of my way to write up a script, gather friends as actors, and hired a gun-fanatic guy from my local gym as security, brought my steadicam rig, the whole nine. In any event it turned out to be what felt just like a setup in th
  14. I would just go for it. I drove there with $2500 in my bank account, no work lined up, no place to live. I got a hotel for a week, during which I searched extensively for rooms for rent where I eventually found a place for rent for $680 dollars per month, month-to-month rent meaning no contract. I could have stayed as long as I wanted because I found it actually much cheaper to live there than back at home. I find the people who say it's a tough city to merely "get by" in are the same types of people who get right out of film school in L.A. with big dreams and unrealistic expectations, which i
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