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  2. Recently serviced by Andree including syncing shutter timer and switching to 3-perf movement. Price $47K & shipping cost ARRICAM LT 3 and 4 perf movements (2) Shoulder Mags (2) Steadi Mags (2) 1000’ Studio Mags Studio Viewfinder Handheld Bracket Shoulder Pad Low Mode Bracket Heated Eyepiece + Cable Remote trigger + ext cable BP8 Riser Plate 1.85 GG
  3. For Sale Beautiful Set of Zeiss CP1 lenses Full Frame Full Frame PL Mount with & Zacuto Follow Focus Imperial Markings Owner Operator! Excellent Condition! If you want EF mount PSTekek makes a conversion kit PS-IMS Conversion Kit for Zeiss Compact Primes CP1 Lenses Contact me for details! Comes with Front and Back Caps Zacuto Follow Focus Speed crank & Whip
  4. Hello! For an upcoming feature film project I’m thinking of using High End Systems Solarframe 3000 fixtures in combination with CLRS reflectors to create direct sun beams through windows in a fairly large location. Unfortunately I can only get the Ultra Bright Version and in combination with the internal TM-30 Filter the fixture should have a CRI of 84. Does any one have experience using this fixture? Regarding the not so perfect CRI should I be worried about color reproduction? Solaframe Technial Datasheet https://www.highend.com/documentation/SolaFrame 3000/SolaFrame_3000_Datasheet.pdf Thanks for your help! Cheers Matthias
  5. There are a few pictures of the set-up of " Portrait of a Lady on Fire" here: https://www.red.com/news/claire-mathon-afc Given the size of the windows, half the surface of the wall can be considered as a large source, the other half being a large reflector.
  6. Today
  7. Stuart is spot on and I want to expand on what he said: The hard part about calculating OT is that gigs are given out on a day rate basis, usually $$$/12. Figuring out OT requires your hourly rate. But, that $$$/12 already has four hours of OT in it. That means you'll have an incorrect hourly rate if you divide $$$ by 12 hours. The best way, in my opinion, to calculate OT is to find your hourly rate from the initial offer (for example $500/12) and then multiply that by the total hours worked after converting the OT into regular hours. What OT is depends on your country and then state/province. Let's assume we're talking about California, USA.* In CA, overtime is 1.5x after 8 hours of work, 2x after 12 hours of work. Source To calculate your hourly rate, first convert the OT hours into regular hours. If you did a standard 12 hour day, then that means anything after 8 hours is at 1.5x. So, you did 4 hours of OT at 1.5x. Multiply 4 hours by 1.5x and those hours are actually 6. That means you worked a 14 regular hours after converting the OT. Now you can divide the day rate ($500) by the total regular hours (14). Here's the math: $500/12 8 hours regular, 4 hours 1.5x 4 * 1.5x = 6 hours regular 8 hours regular + 6 hours regular = 14 hours regular $500 / 14 hours regular = about $35.71/hr Now that you know your hourly rate from the initial offer, you can then use that to calculate OT. Again, it's about multiplying the hourly rate by the total regular hours after converting the OT. Let's look at another example with the same rate: Initial offer: $500/12 Actual shoot day: 14 hour day //Calculate Hourly rate from initial offer: 8 hours regular, 4 hours 1.5x 4 * 1.5x = 6 hours regular 8 hours regular + 6 hours regular = 14 hours regular $500 / 14 hours regular = about $35.71/hr //Now convert all OT hours into regular hours 14 hour total day = 8 hours regular, 4 hours 1.5x, 2 hours 2x 4 * 1.5x = 6 hours regular 2 * 2x = 4 hours regular 8 hours regular + 6 hours regular + 4 hours regular = 18 hours regular //Calculate final pay $35.71/hr 18 hours regular $35.71 * 18 = $642.78 It's a shame that the industry, at least in my experience in the non-union world, doesn't offer gigs by saying it's $$$/hr. But, it's nothing too unusual and, like David mentioned, it's rarely something you need to calculate yourself if the job is paying you through a payroll company. As long as you accurately report your in/out times on the timecard you'll be paid according to state/country law. --- * - This all changes when it comes to gigs that don't pay through payroll. If you are classified as an independent contractor, then it's all up to the agreement between you and the production. OT applies to labor and not independent contractors because, by definition, an independent contractor is a business and not an employee. The subject of independent contractors vs employee is becoming quite an issue in CA with the passing of Assembly Bill 5 (AB5). Currently (11/23/2020) the law is interpreted by the courts to mean that paying crews as an independent contractor is illegal because the productions are incorrectly classifying them. By the current interpretation of the law, crew members are considered employees of the production and must be paid via payroll. If a production doesn't adhere to this, then the production will face stiff penalties when they file their taxes (not the crew member). This issue is still very young and the CA courts are still defining what the law means, who it applies to, and if it's even legal. At the end of the day, if you're hired on a non-union production, get it in writing on your crew deal memo that OT will be honored and what specifically that OT is.
  8. Very nice! If you get a chance you should do some in-depth photography there. Would make some good blog material. If you dont have a blog, you can make free blogs at WordPress. You can also upload photos to the Internet Archive. Besides equipment, does the museum collect odd ball short films or just feature films?
  9. Helps too if the soft frontal light is higher than the faces so that their shadows fall lower than their heads.
  10. Soft frontal light appears fairly directionless because the shadows are thrown behind the subject, but you still have to deal with the fall off from the light, so if you're trying to light a large area, you'll need multiple large sources to keep it even.
  11. A single source from one direction will feel directional -- unless it is super soft / large.
  12. Depends how big the source is and how close it is. Maybe run some tests?
  13. Thank you for the comment ,much appreciated ! One thing I noticed in all of these that the overall space is very evenly lit. Will the light feel directional when I use a single large source from one direction?
  14. I would post more photos but it seems that even the smallest files are too big for more than just one pic.
  15. I'm selling a few arriflex 16st cameras and lenses. Both cameras are working well, one looking a little worn but again, it does work well. 12-120 Angenieux zoom, 17.5-70 Angenieux zoom type L4, 10mm Cinegon, 16mm cine-xenon, 25mm, cine-xenon. no cables or batteries are included. I'm located in France and so think about shipping costs and exchange rates when considering anything here. Prices are in Euros and paypal is accepted. I'm open to any sort of configuration you would like...body only, body and zoom, primes only (although I'd rather sell all three primes as a set). One camera has a variable speed motor and the other has a fixed speed 24 fps. All lenses are standard arri mount. Photos on demand. 16st body- 400€ second 16st body 600€ 12-120 zoom 300€ 17.5-70 l4 zoom 550€ primes (3) 350€
  16. finally....somebody humours me again.....hahaha....touching and special......the filming superb.....
  17. Does anyone have a few Eclair npr parts lying around and can sell me a good aperture plate? Thanks.
  18. Does anyone have a few Eclair npr parts lying around and can sell me a good aperture plate? Thanks.
  19. What a gorgeous, strange film! Beautifully shot.
  20. Hi guysI wanted a single focus solution for my Isco Gold because the one I have degrades the image significantly. I wanted the Hardcore DNA as it is supposed to be the best but I can't find a website anywhere. Anyone knows the company's contact?Thanks
  21. Yesterday
  22. Do you have them listed online like craigslist/ebay?
  23. Alexa Mini Kits Available (2) 1. Hours 513 + ARRI Certified w/ Warranty (ARRIRAW, 4:3, Look Library) Price $ 52K 2. Hours 1,235 (ARRIRAW, 4:3, Look Library) Price $46K Includes Abel Cine Inspection Items below included with Body and MVF (2) ARRI MAP-1 (1) ARRI MAP-2 (2) ARRI MSB-1 (1) ARRI RMB-3 (1) ARRI CTH-1 (1) ARRI MVF Mounting Bracket (1) ARRI Gold Mount Plate (1) ARRI MVF Cable (3) SanDisk Extreme PRO 128GB CFast 2.0 Card (1) Pelican CFast Card Case (1) CFast 2.0 to USB-C Card Reader
  24. I have an EXTREMELY rare piece of Cinemascope/anamorphic history available. An example of the first large-format anamorphic system in the world, used on the famous 1956 film "THE KING AND I". This is related to B&L's original "Cinemascope" lenses... but so much more special/unique. It is a large-format version, made specially by Bausch&Lomb for the "CinemaScope55" format...it is labeled as "Super Cinemascope", rather than merely "Cinemascope" to signify its design for the large-format negative (actually larger than 65/70mm, the negative area is the size of FOUR 4perf super35 negatives...massive). This lens, and the Cinemascope55 format, were only used on two films: "Carousel" and the famous film "The King and I". You can read more about the format here: https://www.in70mm.com/news/2007/cinemascope55/uk/index.htm The example I have is a 152mm lens (s35 4-perf equivalent focal length would be ~75mm I think), in superb condition, functioning PERFECTLY. Smooth focus, aperture functioning perfectly, staying perfectly round. I am sure someone here will be interested in this...truly stunning, likely one-of-a-kind, practically priceless piece of cinema/widescreen history. Deserves to have an appropriate home found for it, to be preserved for future generations. Would be great to see it used again (as long as it can be done without irreversably damaging the original condition of the lens)...or, this would make an INCREDIBLE display piece for the showroom/office of a rental house, lens manufacturer, private collection, museum, etc. I am interested especially in TRADES of interesting/rare lenses. Attached are some pictures, one displaying the special "Super CinemaScope" nomenclature: The last image shows the special "SUPER CinemaScope" nomenclature, signifying its design for CinemaScope55 large format. Cheers, and thanks for looking!
  25. High key photography can be approached various different ways, but your reference pics are all fairly similar in that they are fairly low in contrast and frontally lit, with a backlight or kicker to provide separation. Try a big, soft source close to camera, and add a harder 3/4 backlight from the opposite side of camera.
  26. I am unable to edit the post for some reason,you may use the dropbox links as well : Film: Her , DP: Hoyte van Hoytema https://www.dropbox.com/s/blfx8mr9mu97i4n/Screenshot 2.png?dl=0 Film : Portrait of a Lady on Fire, DP : Claire Mathon https://www.dropbox.com/s/n4bvxnse4lcp07j/ScreenShot 1.png?dl=0 Film: Never Look Away, DP : Caleb Deschanel https://www.dropbox.com/s/x4pbeek5yb5xgbw/ScreenShot 3.png?dl=0
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