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Matthew J. Walker

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About Matthew J. Walker

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  • Occupation
  • Location
    New Jersey
  • My Gear
    Arriflex 16SRII Highspeed & Zeiss S16 Super Speed Lenses

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886 profile views
  1. @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 likely influencing what shaped his answer. One could also say while the average young person's relocation would normally play out like a game of chess, anyone's relocation in the current climate would probably play out more like a game of chess against a chess hustler in the middle of Union Square. You sort of lost before you even lost.
  2. I can't tell if this is satire or sarcasm but I like it.
  3. 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 the middle of skid row so I booked it and he was in my rearview mirror. Not a fun place to be at 10PM.
  4. 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 is fine, but subsequently handle their lack of work as "rejection" as oppose to a sign that they need to work harder. I was willing to live in my car at any moment that's how much I wanted to be there at the time. My grandfather always says "Go with your gut" and "You don't know until you try". And he's always right.
  5. I lived in Los Angeles for two years. I always tell people, I've gotten more done in New Jersey, yet I learned more two years in L.A. than I've learned nineteen years in a small town. You meet many characters in Los Angeles however the best advice I was ever given during my stay was "You have to have something to offer". How I took that statement was "Sure anyone can live in Los Angeles, but anyone can also make a film anywhere."
  6. I'm in Ocean County. Roughly ten miles south of Toms River.
  7. If anyone in New Jersey wants to film something short or simply even connect on any basis let me know. Especially but not limited to someone who knows how to properly record sound. At the moment I'm in essence a student of filmmaking, however I will be self-financing and directing my first feature length film this summer that I wrote which will be shot on only super 16mm film so if that interests anyone let me know. I do have two spare rolls of 250D if anyone wants to film something really short, because I'll probably be using majority of the first roll for lighting tests and various other quirky tests. In any event... I'm here.
  8. Seeing that all four of you agree that it would give me much more freedom during the editing process to film the sequence in color, I think that is the route I'm going to take. Also, you're right @Stuart Brereton I completely forgot that Kodak's only current black and white film stock is the not so current 5222/7222. A beautiful stock on 35mm but in my case I'd be using the 7222. Just too grainy. And @David Mullen ASC I think you're right. My attraction for black and white film may be the gothic nature of a black and white image rather than the narrow degree of nuances that come with a proper black and white negative. So not only would it give me more freedom, but I suppose filming in color and desaturating the sequence to black and white would also keep the sequence true to the texture of the rest of the picture. I've made my mind up... man do I love this forum.
  9. 1. Would using color film and subsequently desaturating the image look substantially different than simply shooting on black and white film? If yes, then Is light actually captured slightly different on black and white film or does a black and white image just make lighting look interesting. Depending on the answer to the first two questions, the following question may or may not be inapplicable: 2. I'm 99.9% dead set on filming a sequence in black and white, however there's that 0.1% in me that thinks I may change my mind while editing and want the sequence to be in color. If I decide to shoot in color "just in case" and desaturate the image, am I actually achieving the proverbial "black and white look" or would it be best to play it safe and film using black and white negative to achieve the best black and white image possible if I was so sure I wanted the sequence to be in black and white?
  10. As @Phil Rhodes mentioned, the lack of SDI requires an HDMI to SDI converter for most monitors , which of course needs battery power. I own a now half broken Blackmagic Cinema Camera that I used a lot last year. I used to use the 95wh Blackmagic Jukebox battery directly connected to the camera via DC which powered my camera for a solid two hours. On my Steadicam I used a Maxoak 158wh battery on a V-Mount plate with two D-Tap to DC cables connected to it, one Powered the monitor, the other plugged into the steadicam from the bottom which allowed me to power an SDI to HDMI converter from the top via a DC port and connect the converter to the camera since I was using an HDMI monitor and the BMCC 2.5K has the opposite problem of only having SDI, contrary to the BMPC 6K's issue of only having HDMI. At which point I can just plug the HDMI into the steadicam and male HDMI at the bottom of the steadicam would plug directly into the monitor. The 158wh Maxoak would power the monitor and the converter for more than several hours and is the highest amount of watt hours one can legally bring onto a an airliner. When I wasn't using the steadicam rig, I preferred simply using a pistol grip under the camera screwed directly into the 1/4"-20 tripod threads, a simple 15mm rod mount with any matte box attached to the rods, and a very simple viewfinder called the GRID Viewfinder. Simple, lightweight and effective. It is a rolling shutter, so be aware of that. My BMCC 2.5k also had a rolling shutter. Very noticeable with fast moving objects or sporadic camera movement. I've never used the BMPC 6K so I made a point to express only variables that can be insightful for any Blackmagic user. While my personal BMCC 2.5k was fragile internally, I may have just been unlucky. The only thing I noticed that may or be not be just a Blackmagic thing was when highlights were blown out, they were blown out and held zero data. To counter this, I'd set the zebras to 90% or 95% and make sure nothing of importance was bright enough to bee seen with the zebras. This always resulted in great highlight roll off, if anything happened to be blown out. Again, nothing that can't be worked around. My BMCC 2.5k also had an astonishing thirteen stops of dynamic range, resulting in an image that had massive amounts of color data, especially when shot in RAW. My Blackmagic produced a dense, clean image in almost every instance, lighting situation, or anything thereof and I used to baby it. You however, can expect the BMPC 6K to handle low light extremely well because it's a Super35 sensor. Much like @Jae Solina this interests me and is something I wouldn't mind seeing.
  11. https://ascmag.com/articles/flashback-barry-lyndon Here is an incredibly interesting interview with Cinematographer John Alcott on the photography of Barry Lyndon and I personally read the entire thing. However, in the event you don't feel like reading it because it is very long, here is an excerpt consisting of only things related to the entire candle light sequence in the interview. Very interesting stuff. Here's an excerpt from a separate article on how the idea of the candle light sequence came about, their first encounter with the lens, and the struggles involved in figuring out how to mount it to the BNC camera.
  12. I posted this July 3rd for $999, however I've since saw a listing on eBay for a IIC with a video tap, backp fuse, extra gate, etc. for $1249.00 and realized "Yeah I'm never going to sell this thing". So I'm reposting it. Price is now $650 or best offer + $60 shipping. Shipping will include signature confirmation and insurance via USPS Priority mail and will ship one business day after the payment is made. Purchased last year and never tested it because the cost of testing and potentially fixing at the time would have been too high. I've since purchased a Super 16mm camera. The seller who sold this to me sold it to me as a "IIC", however upon inspection, this looks to be a standard model IIB as the ground glass is not removable and the shutter is not variable. Standard IIC's aren't variable shutter, however all IICs have a removable ground glass, this one does not so it is a IIB. The rotary shutter on this particular model is a "butterfly" shutter as is with every model after the IIA. The mirror is clean including the ground glass, internals look clean as well including the 4-perf gate. The ground glass baffles are still within the glass and unbent. Power cord is not in the best condition and as shown and the 3 pin XLR will often slide out of it's metal covering. The hand grip motor is untested. Upon rotating the shutter by hand, it seems to rotate smoothly and the lens turret rotates normally as well. This model has three Arri Standard mounts, unlike some models which have two standard mounts and a single bayonet mount. The viewfinder compartment door mechanism locks and unlocks as normal, and the mechanism that closes the eyepiece works as intended. The rubber eyecup is unusable as it has dry rotted. The 400ft magazine is again untested, but seems to be in good mechanical condition. The locking mechanism on the magazine locks and unlocks normally. The feed spindles and take-up spindles spin smoothly including the footage counter and the collapsable core functions as intended. The Matte box has signs of heavy use and needs cleaning. Overall the camera body and magazine appears to be in heavily used physical condition. Serial number of this camera is Nr.4221. DISCLAIMER: I CANNOT GUARANTEE THAT THIS IS AN ACTUAL IIB AND NOT AN UPGRADED IIA. There were two models of the IIB in 1960. There was the Arriflex 35 IIB which had a 180 degree fixed shutter, and there was the Arriflex II BV which had a 0-165 degree variable shutter. It's very tricky because the serial number starts with Nr. on IIA models and No. on IIC models, but with IIB models, some used No. and some used Nr. It doesn't help that the IIB compartment doors could fit on IIAs and actually many IIAs were upgraded to IIBs by simply using the newer style magazine, compartment door, and handgrip motor. The II series started around 2000 and ended all the way well into the 15000s with the IIC meaning this could be a fairly early model IIB or a late model IIA. Either way it has the new compartment door, magazine, and handgrip motor making it either a IIA upgraded to a IIB or an actual IIB. I will say though, The internals look identical to the IIC at a glance, which the IIB was. The IIA internals were very different in appearance. It's very hard to find information about the IIA or IIB because the IIC dominated the MOS camera industry. I come to the conclusion that it is a IIB, whether upgraded or not, because in almost every instance it appears that way and I don't have an Arri technician to do a serial number lookup. 12 Detailed photos: https://www.ebay.com/itm/293635925639 Again, shipping will include signature confirmation and insurance via USPS Priority mail and will ship one business day after the payment is made.
  13. Bump. Price lowered to $695 or best offer + $120 shipping. Again, Shipping will include signature confirmation and insurance via USPS Priority mail and will ship one business day after the payment is made.
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