Aidan Brook

Hey everyone ! I know this is a topic that's been mentioned on this page before, however I wanted to confirm a few things as it hasn't been addressed in a while. I'm looking to convert my double-perf Bolex to single, so it can take Vision3 stock. This is a H16 non-reflex model which I bought for very cheap, so I'm not too worried about the DIY nature of the conversion. I hope to grind down the teeth on the side where they're not needed, however I'm unsure whether I should use a dremel / sandpaper whilst the rollers are still IN the camera, or whether I should try to remove them myself before grinding them down. I've read a few forums mentioning how the rollers are aligned, and that taking them out might prevent the camera from running properly if they aren't placed back in their exact spot. It would be great if someone could clear up whether this is the case. I'm also struggling to work out how to remove the rollers, as they seem firmly attached to the camera. Would appreciate any guidance on this.

Hey guys ! I'm trying to light a hall with ambient light, similar to the still I've attached from the film Blue Jean. I was just wondering if anyone had any tips for this type of lighting. Are there any lights outside the window? Or is this all natural? For our shoot, we're trying to create ambient blue hour in the hall, so everything will be a lot darker, but interested to hear people's thoughts.

Hi guys ! Just looking for some advice on an upcoming student film I'm shooting. It's an 8 page script, that all takes place outside a community hall during late afternoon/dusk. It's a single conversation, all in real time. We have the budget for a 2-3 day shoot, and the director is very adamant on shooting during dusk/close to blue hour, however the producer made it clear that's unrealistic, due to lack of time. So, it's my job to try and fake the look during the day. How do DoPs usually deal with shooting a long EXT. sequence like this, that doesn't involve scheduling for the 1hr of correct light everyday? Luckily, where we're shooting in the UK it's often overcast, providing a nice, soft source which is what we want. I'm just worried about the colour being convincing, as I don't want to leave it to the colourist. I was just wondering if anyone had any advice for dealing with this situation? I just want to make sure skin tones look accurate, and not washed with a blue tint in the grade. My other worry is if the weather is different across the 3 days, as we won't have much equipment other than some frames of diffusion to soften sunlight. I wasn't sure whether altering the white balance throughout the day would be worthwhile, as I imagine matching shots in the grade would take forever and not look great. Also thinking about using a blue filter to try and get the look. I plan on shaping the light using Poly and Neg. Please see some reference stills below. Any advice will be much appreciated !

Ah thank you David ! Thought it was something simple. Will have to give it a try tomorrow.

Hi All! Just wondering how this effect was achieved in this Skepta MV? I'm assuming it's something you can do in-camera, playing with shutter or frame rate, but would be interested to know what you think. It's from 0:19-0:24

Any chance someone has 16mm SEs for sale? Expired stuff also welcome, as I'm only a student looking to practice.