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Andy_Alderslade

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Everything posted by Andy_Alderslade

  1. Hi Dom, that's a great suggestion regarding Lars, thanks!
  2. Hi everyone, I own a set of these lenses built a few years ago, I still really recomend them but I need to get in contact with the some of the original design/manufacturing team. Does anyone have any contacts here with the German team? Thanks Andy
  3. Need to get my lightmeter serviced, would also like to purchase a back-up meter and trade in some analougue lightmeters... .... unfortunately the shop I used to go to is now a coffee shop... as is everything else. Anyone know any places or shops? Cheers, Andy
  4. Hi Stuart, thanks so much. Are you in LA right now?
  5. Hey Satsuki, that's awesome, thanks so much! Definetely must meet up when I get to the bay! Thanks, Andy
  6. Hi everyone, been a while since I've been on here, hope you're all good. I'm visiting LA on the 17th June, in town a few days and then touring round east and then looping back up to San Francisco. Plan to take a fair few medium format photos, but don't want to take film through those X-ray machines. Anyone recomend a good affordable retailer of 120 film in LA? Also I may try and get the bulk of my processing done in San Francisco, again to avoid the x-ray machines, does anyone know a good lab in San Fran that has a quick turn around? Also up for meeting up with people for beer or coffee if anyone's about? Thanks for your time, All best wishes, Andy
  7. Be there or be a four-sided polygon! ;)
  8. Very true, a lot of film directors have been to Oxford or Cambridge but that's because they produce students with the self-confidence and intelligence to succeed as film directors, which is one of the hardest careers in the world. Neither have course to provide them with film-making training. Nathan, for undergraduate film-making courses look at Farnham, Westminister and Bournemouth, they are recognised as the best in the country though there are others that produce successful graduates like Cardiff. There is lot of money in Film education so look at courses that are less about profit and providing the best skills and facilities and importantly produce the best and successful students. That's the most important thing about film schools, the people you meet - knowing gifted and successful collaborators will be vital in your success. University is now insanely expensive, so you could try starting as a runner - a drivers license will be pretty vital there. Trying to get a job at a camera-rental company is often considered the first step to becoming a camera trainee, however its often a very difficult first step. Getting training as an electrician could certainly help you get into the film electrical department, which is another possible route to being a cinematographer - you will certainly learn to light in the electrical department.
  9. Hi Stuart, I'm not sure I follow what you are saying, your sentence construction is brilliantly complex! ;)
  10. Hi everybody, hope you're all well out there. Some of the stuff shot on it looks quite nice: But wondering how practical it is to shoot with? Has anyone had any experience with it, seen its pros and cons? I don't believe there any here in the UK yet so I'd quite like to get peoples feedback on it. Cheers, Andy
  11. See I found Boogie Nights completely unbelievable, the montage of them beating people up, which is followed by no consequences (or guilt) or many of the other obscure sequences.... but then I suspect the intention was never meant to be 'believability'. Brings a question is 'believability' a measure of 'good'? I actually enjoyed Jennifer Lawrence going over the top, she was an over the top character, and when there were moments when she needed to show sensitivity and to crack I thought it was rather good, but all the characters were a little bit over the top, that was much of the fun! You could make the same film with all the characters whispering to each other.... but that would be a very different film, and less funny.
  12. Rather enjoyed this, the constant steadicam floating and panning gave it a really intoxicating and freewheeling feel that suited the plot and personalities perfectly. The lighting plus the texture of the 2-perf really helped conjure that period look - nice to see film still used in such a creative way. Interesting to hear about the focus issues, looked very good to me!
  13. Or the wonderful entrance of little David, in A.I. http://www.youtube.com/watch?v=yXu0OPcTTCY
  14. As my A-Level art teacher used to say, when I would say something that didn't make sense: "Dyslexia! Dyslexia!" He said it in good jest though!
  15. Hence the 'well-liked' the sort of person who knows a good joke from a bad, is aware of others' feelings around him/her and knows when and when not to joke.....
  16. That's not really what I said.... its more about having an attractive personality. People work really long hours together and want to be working with people they genuinely like... that's why quite bouncy and confident people do very well. Its very sad as you have some really lovely people who are bit more shy and quiet, they often get over-looked. One producer actually told me that he always likes a well-liked joker on set, keeps the crew positive through difficult times. Also if you imagine that at the entry-level jobs, you may have 100 candidates, 10 of which can all do the job very well - it will often come down to the most likable. With regards to physical attractiveness, yes it does exist, its not out and out exploitation (no wiggling) but again with so many candidates able to do an entry-level job, it may come down to physical looks or how well groomed a candidate is... that certainly seems very prevalent in the world of glossy TV broadcasting. Of course I'm saying this as someone who's observed the phenomenon and doesn't hire people! I suppose its just the nature an industry, which hires very rapidly and doesn't rely on formal qualifications.
  17. I suppose it only takes a visit to Curry's or John Lewis and see that not a single TV or computer-monitor match each other in the same room... then also you have different room brightnesses affecting it is well! I suppose we need a uniform method to set up domestic monitors so they all match, but then environmental issues will have an affect...
  18. I can very much understand unpaid interns on tiny low-budget film or shorts, they're often self funded or working with tiny donations... and a shivering crew do need hot drinks taken to them in the middle of the night - though it should be done safely. What I can't quite get is when a profitable company, be it a film company or advertising company etc, uses unpaid staff to necessary jobs. I remember doing an unpaid internship for an international film company, dropping of packages in Soho or getting the 'talent' exclusive coffees from Carluccio's - and I didn't really learn anything from it and felt it should have been paying the minimum wage. However what it does do is get you inside, if its dropping off a tape to a post house/ production company and if you have an instantly attractive personality or physical good looks, you're likely to get a job.... Regarding insect bites to the legs, I don't know whats happening to UK bugs but the're nasty... I get septicemia at least once a year (ask Stephen Murphy!) - always carry deet, literally always, not just in woods but lovely beaches at sunset as well!
  19. Maybe you should go in a disguise.... like a fake beard and sunglasses....
  20. Bruce is right, car stuff is the most dangerous stuff one does regularly - its not just you and your fellow filmmakers but the public are at risk as well - should be handled with an element of caution. My instinct is that scene from Pusher is a little more expensive than it looks, that the car was being towed on some sort of a-frame, then the operator was somehow perched up against the dash board, a 16mm cam with a prime is quite compact.... of course it would still restrict the drivers view, cause issue with camera shadow, depending where the car was pointing. As you are set at night, the Poor-Mans' Process technique that Bruce mentioned will work very well... and if you aren't happy with just a dark background through windows you can go out and film some plates, use an affordable digital projector and project a moving background. It sounds hokey, but it actually works really well, providing you 'rough it' as much as possible, lens flares, panning lights, a swinging china-lantern, maybe balance the camera on a tennis ball etc....
  21. Red will be dead if it doesn't sort out its reliability issues. It got away with it when it was the only kid on the block, but now there are so many other options; find a bit more money in the budget you get an Alexa, haven't got any more money take a small compromise in resolution and get a C300/C500 - all of which are very solid and reliable machines. One is shocked when you hear of an Alexa fail - no one is shocked when a Red breaks down. Productions are getting faster and more ambitious, they need cameras that won't fail or lose us time. I just wish Red would stop manufacturing loads of new cameras, and just take its time to make a solid, kick-ass camera!
  22. David's last talk was amazing, I watched the online video several times over!
  23. Yes finally a camera to get really excited about! And the manufacturer is not boasting about amazing figures of resolution and DR - but simply providing a great tool that gives us back what was taken away!
  24. "I've definitely told the actors the trick of looking at the sun with their eyes closed just before the take and whether it's a placebo or not, it usually helps them deal with it." Personally I find this works a treat, it sort of prepares the eyes for the brightness and the face relaxes.... some feel a bit stupid doing it. I remember it worked very well on a little girl we were filming for an ad in india, she had to look up at the camera which was on a building the sun very frontal for a harsh look.
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