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  2. That second link looks like they copied the design of a Ronford-Baker heavy duty tripod. The price is very low, especially since it includes the spreader. I have no experience with with Proaim's product but when something looks too good to be true...
  3. Och! 'tis a lonely walk upon yonder heathery heights .. and no man nor beasty canna advise a lowly independent filmmaker, aye.
  4. you beat me to it, by about 60 seconds. Edit: that is, quoting auld Will
  5. It sounds like you've been involved in very little, if any, of the animation industry. There aren't 30 different people assembling Tom Cruise's performances. Mickey and Daffy have key frames drawn by someone in America, then filled in for fluidity by someone in France, then colored in by someone in Korea, then sent back to America for sequential editing and final review. When you actually grind into the work of this process, you're far less concerned with philosophical titles.
  6. if I might quote the Bard.. "All the worlds a stage.. and all animators are merely players "
  7. Today
  8. Okay, let's try this one more time. Is a author/screenwriter an actor too, yes sometimes. Both Sylvester Stallone, Woody Allen among others do both, but when they write, they are writing, they are not performing, when they are in movies they are performing, or acting. no, the DOP is not an actor, he is not performing a character in front of the camera. Production is not acting, acting is acting. being on location is not acting either. This is not a put down of the many talented folks it takes to make a motion picture, it just is not part of their job. The broomstick if alive, is acting, if being held by a character is not acting, but the character holding the broomstick is acting. Backgrounds are not characters, and folks who animate backgrounds I am sure are trying to move up to character animation, and have done character animation before, I mean they just don't pick folks off the streets to animate. No, animators do not call themselves actors, they call themselves animators, but acting is just part of the job, and accepted, in fact I don't see how one would do the job without acting. They take direction from the directors before doing a shot, many rehearse in the shadows, and they bring to life the characters they are animating, acting as it is through their creations. They do it in the thought process as actors, just they do it in fewer takes, like I said in a post above. If they did not act, then where would Gertie, Mickey, Bugs, Daffy, and many others be? How could Pinoccio move millions of folks? I just reread a previous post, and basically said the same thing, so hopefully you will read this post and understand that no, not everyone on a film set has the same job, they are not all actors. It is a pretty simple idea, I find it hard to believe folks can't grasp it. Anyways, since that seems to be the case, I suggest we agree to disagree, and just drop the matter. Yours respectfully, Tim Smyth
  9. The crop issue is only a problem if you see it as a problem. If the sensor crops in, take that into consideration and compensate with your lenses for it. If you know that you'll need a specific width, and the crop is a deal breaker, see if you have the capability of getting wider lenses to compensate for it. It will change your look a little bit depending on lenses, but that's the clearest workaround for such a thing - that and having decent amounts of space to position yourself in.
  10. Thanks for taking the time to read this. I am going to be shooting in the LA Riverbed and am currently figuring out potential shots with my stunt co-ordinator. Our sequence involves a character pushing himself up the sloped side of the riverbed, making it to the top and tumbling down again. I want to pull off a shot tracking alongside our character as he slips, barrelrolls and meets his demise. On the stunt side we have our blocking figured out for the most part, but I am not sure how to pull off this shot with the utmost safety and capability of control. Ideally, the shot will have the camera alongside the actor tumbling down a 45* slope. My immediate thought was to use a speedrail setup with a dana-dolly and an angular base, but my biggest concern is how to lock rails in to position. With a lack of experience rigging, I wanted to see if anyone has thoughts! Alternative thoughts are also welcome, but my budget is that of a student film - small and practical. I can pull this shot off with a technocrane, no problem, but how to do it with a budget that can't get anywhere near that?
  11. Yes but the problem is even the paying one is only 20GB.. thats pretty useless for sending un edited footage.. esp 4K.. I could sent only a few minutes .. MASV is no limit .. you can send 2TB file if you want.. give it a try its really changed the work I can do.. I would never do any file sending FTP shoots before .. also this up loads to a cloud your not at the mercy of their down load speeds or lack there of .. they do the down loading
  12. Found a link to a .pdf to the 6008 s manual online posted below: right click to download http://mrelmo.co.uk/manuals/8mm/beaulieu6008user.pdf. I got my 6008 s today from Bjorn. I filmed a few clips in 24p then wanted to get one on 56fps and now that is the only setting that it will record on. It won't film on any other setting. I know the motor isn't broken/fried because of this but was wondering how I can get the camera to film in 24fps again? Has anybody else experienced this problem?
  13. Thanks for telling, I'll keep it in mind. My favorite so far has been WeTransfer.
  14. What are the rest of your lights balanced to? Tungsten or Daylight? If you want that general warm sunlight blast then I'd suggest playing around with varying degrees of CTO gel in order to achieve the precise look you want. They also have ND+CTO gels that could help.
  15. The incredibly fantastic file sharing software ..MASV has a new feature .. you can limit the down loads to clients .. change the limit after the effect .. and copy and paste down load links.. there is NO size limit.. no software on either end.. and no monthly charge.. pay per download only.. highly recommended .. (I have no connection to this company ,except use their software).. there is nothing else on the market like it..
  16. Yes that was just one example in a list of the differences .. so is an author/screen writer an actor too.. they do the same as you list as attributes to being an actor.. or why not the DoP.. the lighting of a face can change the mood/feel..or the director then.. I mean it just wouldn't stop.. animators are artists, who by doing their job, make a moving picture.. what about animators who only do backgrounds.. or who animate a broom stick..? they are not actors then.. I don't know why you take it as some insult that animators are not actors .. I can't say Ive met many .. but my brother used to do animation may years ago and I never met a single one who claimed to be an actor .. actors are egomaniacal nutters.. why would an animator want to be an actor.. they just want to be very skilled animators .. darling 🙂
  17. I have a small 18" x 24" window on a door where daylight spills through. I would like to gel this window so it looks like one of two things; either moonlight or late sunset. I realize those are two very distinctly different color pallets and aesthetics; however, I am open to either or trying both. Is using an ND enough to create a moonlight look? Thank you Peter
  18. Yesterday
  19. VINTAGE ULTRASCOPE ANAMORPHIC LENS SET CLICK HERE FOR PICTURES Set of four vintage anamorphic lenses Ultrascope 40mm f2, 50mm f2, 85mm f2, 135mm f4 All lenses are in arriflex standard mount. The back spherical lenses are Zeiss on the 50-85-135, and Cooke speed panchro II on the 40mm. This set was completely cleaned, lubricated and checked for collimation in 2018 by Visual Products, copy of the report is available. As far glass conditions, some of the lenses do show some cleaning marks on the coating. The set is rare and a fantastic vintage set to say the least. I tested it, please check the screen shots done on my Red Dragon in 4k, using different F stops per each lens. Link below. https://vimeo.com/310163880/34b5d77289 All the lenses do perform beautifully, offering a nice warm effect typical of these old anamorphic lenses, and they are relatively fast compared with other modern ones. They could be converted to hard PL mount by V.P. for an additional cost of $810 per ea. lens, inclusive of focus gear. Price the full set $57,000 + shipping fedex I will be visiting the Las Vegas NAB show in April, and if you are seriously interested, I will have them with me!! Hit me up with any questions you might have! ****NO INTERNATIONAL SHIPPING SORRY****
  20. It does, rather. Crumbs. I've never seen anything like it. My first thought is jammed cartridges but I've really no idea.
  21. Hey Omar, I have a finance background and work in the Entertainment Finance division of an equipment financing company. I also own my own Internet marketing and video production company I founded in 2006. Just wanted to chime in on a few points to help the community in terms of financing new gear. 1) Equipment Financing Vs Equipment Leases- An equipment lease is a common form of financing. Under an equipment lease, the Invoice from the vendor/seller is SOLD TO and SHIPPED TO the bank/leasing company. After the term of the lease is over (36, 48, 60-months), you have to exercise an end-option to actually purchase the equipment and own it free and clear. The end-option is set when you first sign the documents, and could be $1, $101, 10% of the equipment price, or FMV (fair market value). IMHO, financing gear under an EFA (equipment finance agreement) is much simpler, and takes away the end-option issue. The invoice from the seller is SOLD TO and SHIPPED TO you or your company from Day 1. This is especially helpful in the case of warranty's and upgrade programs like RED offers. Once the last payment is made on the agreement, the equipment is owned free and clear. The only collateral is the gear itself. A company that offers "equipment leasing" should also be able to document on an EFA. If they refuse, they are probably playing games and will be trying to get extra money out of you at the end of the lease term. There is LOTS of fine print on a lease and end-option, and many less than reputable lenders try to take advantage of the customer at the end to pocket extra money. 2) Term- Most lenders will require at least a 24-month term, with options to go up to 60-months. In order to save on interest/finance charges, go with the shortest term with payments you can easily cover. One plus of financing gear vs. buying is that is helps with cash flow. Don't go with a shorter term with higher monthly payments if finances will be tight. 3) Rate- Financing for "new" businesses is always going to be at a higher rate. If you have been in the industry at least 2-3 years, you are an established business and are able to get around the new business rates which can range from 14-25%. The high rate of new business defaults make these leases/loans more risky for the bank, and the rate is adjusted accordingly. However, this is still cheaper in the long run than putting the purchase on a credit card. Personal credit must be solid for new business financing. Established businesses and professionals can get rates starting in the 7% range (for larger deals with excellent business/personal credit) to low 10%'s for smaller deals with average credit. To give you an example, a $35,000 camera package would run $699 - $737/mo (60-months) depending on credit worthiness. This is assuming the deal is documented on an EFA with (1) payment in advance. If your use of the equipment, plus possible rental income will easily cover the monthly lease/loan payment... go for it. If not, I would recommend renting gear needed for jobs until you are ready to pull the trigger on a financed package. You can check out my company's video/film specific page here: https://www.financialwb.com/equipment-leasing/video-film/
  22. Please email sales@broadcastsolutions.com for pricing and details. For Sale:CINEMA LENSES:Cooke S5/i Set Includes: 18/25/32/40/50/65/75/100mm Ft.Cooke S4/i Set Includes: 18/25/32/50/75/100mm Ft.Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm TLS Cooke Speed Panchro Set Includes: 18/25/32/40/50/75/100mm P&S Cooke Speed Panchro Set Includes: 18/25/32/40/50mm Canon CN-E 50-1000mm Zoom PL LensCanon CN-E 14.5-60mm Zoom Lens Canon 17-120mm Cine Servo Lens Leica Summicron-C Set Includes: 18/21/25/29/35/50/75/100/135mm Leica Summicron-C Set Includes: 18/25/35/50/75/100mm Qty.-2 Sets AvailableZeiss Supreme Prime Set Includes: 25/29/35/50/85mm Qty.-2 Sets Available 1 Set Is New Zeiss Super Speed MK3 Set: 18/25/35/50/85mm(Coated But Have Uncoated Front Elements For Each Focal Length So You Can Use Either Coated Or Uncoated)NEW Zeiss Master Anamorphic 75mm LensNEW Zeiss Master Anamorphic 100mm LensNEW Flare Set For Zeiss Master Anamorphic 28mm Zeiss CP2 15mm T2.9 EF Mount Zeiss CP2 Lens Set Includes: 18/25/35/50/85mm PL & EF Mounts & CaseAngenieux Anamorphic 30-72mm Zoom Lens Angenieux Anamorphic 56-152mm Zoom LensAngenieux Optimo 24-290mm Zoom Lens Qty.-3 Available Angenieux Optimo 45-120mm Zoom Lens Angenieux Optimo 28-76mm Zoom LensAngenieux Optimo DP 30-80mm Zoom LensAngenieux Optimo DP 16-42mm Zoom Lens Arri/Zeiss Ultra Prime Set Includes: 16/24/32/40/50/65/85/100mm Ft.Arri/Zeiss Ultra Prime LDS Set Includes: 16/20/24/28/32/40/50/65/85/100/135mm Ft. Arri/Zeiss Ultra Prime LDS Set Includes: 14/16/20/24/28/32/40/50/65/85/100/135/180mm Metric Arri/Zeiss Ultra Prime Set Includes : 16/24/32/50/85mm FtArri Alura 18-80mm Zoom Lens Ft. Fujinon Cabrio 19-90mm V2 Zoom Lens Red 18-150mm T3.0 Zoom LensCAMERAS:Arri Alexa LF Camera Package Price Reduced Arri Alexa Mini Camera Package Arri Amira Camera Package Hours-250 Arri Alexa XT Studio Camera PackageArri Alexa XT Camera PackageArri Alexa Studio Camera PackageArri Alexa Plus 4:3 Camera Package Arri Alexa EV Camera Package Canon EOS C700 FF Camera Packages Qty.-2 Available Canon EOS C500 EF & PL Mount Qty.-2 AvailableSony F55 Camera PackageSony PMW-F5 w/4K upgrade Low Hours Qty.-2 Available Sony HSC 100 Camera Chains Qty.-3 Available Phantom Flex 4K 64GB Package Phantom Miro 320 Camera PackageMISCELLANEOUS: Teradek Bolt 500 Transmitter/Receiver & Accessories NEWS16/35mm FILM CAMERAS: ArriFlex SR3 High Speed Advanced Film KitArri 435 4 Perf KitArri 535 4 Perf KitArri 235 4 Perf KitAaton A-Minima KitFILM AKS:Arri SR3 24V Battery ChargerArri SR2 400' Mags Qty.-2S16 FILM LENSES:Cooke SK4 S16 Lens 6mm Cooke SK4 S16 Lens 9.5mm Cooke SK4 S16 Lens 12mm Zeiss S16 High Speed 9.5 T1.3 MKIIILooking For : (Preowned) To Purchase P&S Skater Scope KitArri Alexa Mini Packages Arri 416 Film Kits Arricam LT Film Kits Aaton Minima Kits Aaton XTR Prod Kits Panasonic AW-HE120 Qty.-2 Sony HXC-100 Qty.-8
  23. Hey guys! Selling my Scarlet-W package ($15,000obo). Willing to trade for Alexa XT plus cash on my end. Can drop off in NYC, Pittsburgh, LA, Miami, UK, or Milan. Will ship if needed. - Red Scarlet-W brain 400hr give or take. - Standard OLPF - Skintone highlight OLPF - Lowlight OLPF - DSMC2 Canon-EF AL Mount - DSMC2 V-Lock I/O Expander - 2x Mini Mag Readers USB 3.0 - Red Touch 4.7 Inch - Red DSMC2 pelican Case - 240gb Card - 120gb Card - RED Top Handle - RED AC adapter to power Lemo cable - Wooden Camera Pogo to Pogo LCD extension cable 24” - Smallrig top plate - Smallrig bottom plate - Smallrig side plate - Smallrig LCD Relocation Arm (Rosette) - Smallrig top handle - Smallrig 12” Rails - Alvin Cable Timecode jam cable - Wooden camera lcd shade
  24. am looking for half of that price for the lt , I have some time so let see if I can find it, so far I wanna stick with the cameras that I listed thanks anyways Paul good luck to you
  25. Hey. I've got : 535B package 4 perf 9000€ : https://www.ebay.com/itm/Arri-535B-35mm-4perf-camera-possibility-of-3-perf-also/283412926685?hash=item41fcba10dd:g:HWgAAOSwwFlchlzg 535B 3 perf package 12000€ Arricam LT 3 perf with steadicam mags, 400ft mags and 1000feet mags for 35000€. Located Paris France.
  26. https://www.ebay.com/itm/Bolex-Paillard-underwater-housing-original-case-H16-camera-Angenieux-lens/192860232396?hash=item2ce75d9acc:g:r9sAAOSwRXJcjWGa Nice Bolex Paillard underwater housing, not beaten up like so many. Kit includes original case, rangefinder, blue filter, two wrenches, and some sort of mount (light meter? Light? -- see photo), a Bolex H16 film camera, and Angenieux 10 mm retrofocus lens. I have never used this housing or camera, but the camera winds up and runs. The return spring on the M-STOP-P switch seems a little weak, but the camera does run. There is no carry handle on the case. I'll leave it to the buyer whether to find an original handle, or just get 'a handle' for functionality. The blue filter has some scratches on it, but I suspect these would not be a factor underwater.
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