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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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  • Occupation
    Student
  • Location
    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. I've had a Blackmagic camera spontaneously stop reading the SSD, then begin reading it again, but unable to write any data to it. Shortly after the screen went half white with random black horizontal lines as if the zebras were picking up blown out highlights, yet only on half of the screen. Upon turning the camera off then on a few times it magically began operating normally. As If it couldn't have been any closer to a nightmare, I happened to be recording video at a location that was being rented on someone else's dime. Not fun.
  2. Very nice images! This just blew my mind! So you're telling me I don't need to worry about that annoying 2/3 stop of light anymore because I never had the balls to use tungsten film during the day in fear that it might be a waste of film?
  3. If the underexposed areas are too noisy, the first and most obvious approach would be to record with the lens at its widest aperture. You could also record with the lens at its widest aperture in combination with a high ISO setting, though I should note that many, including myself, would agree that bumping up the ISO is a very lazy thing to do and doesn't create a very attractive result most of the time. Now if you are not using a fast lens, or perhaps you are using a fast lens yet the shadows are still far too underexposed for the sensor to pick up cleanly, the two arguably best options would
  4. Yeah that really isn't too bad. Most Steadicam shots are probably around, say, six feet from the actor. So a four foot depth of field actually gives a lot of room to play. More than one would have expected, or maybe just more than I would have expected. You also have to consider what lens is to be used. It is well known that modern glass is obviously very consistent as it's machine made whereas older lenses are handmade, so I suppose this would fall into what one would probably call lens theory. Sorry Joshua Silverlock if you haven't disowned this thread yet, we sort of hijacked your post, tho
  5. This is true. I have experience filming digitally at f/1.8 with focus peaking on and it was still difficult to maintain focus. You sort of have to do several takes regardless of whether or not you thought the take appeared sufficient. It may have appeared to be in focus on a seven inch monitor, yet when you begin editing you realize it isn't quite in focus. That's where the extra good takes come in handy. Then with film it becomes a different story. At the very least his camera will ned an HD video tap or some sort of homemade video tap. He can't control the lighting, therefore he must shoot w
  6. How the director perceives body language should be, how the director perceives words should be spoken, or how the director perceives someone should react, are all behaviours that are acted out by actors that would not have acted in such a way that a different director was directing the picture. So the picture is a reflection of everything including the directors work, yet a director is not an artist?
  7. 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.
  8. @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.
  9. 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
  10. 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
  11. Thank you Steve for both your posts and your patience with my questions!
  12. 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,
  13. 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
  14. 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
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