Tony Brown

Never heard of them.... I must be getting old....

There was a cable Worrall? I remember that terrible Mitchell (clever but an absolute pain) that was cable driven but the Worralls I used (and carried for miles with a Fox or Quadra wedge on top!) were direct worm drive, as was the Technohead. When the handles come out, hands on directors suddenly become very involved with the artists..... funny that.

Pleant of aircraft hangers around..... let the space create the blackness..... shooting against black seems a little pointless..... (dull?)

Traditionally in the UK it was always the 2nd AC's job to do the jibs (and zooms). I used to love it.

Shoot ext night...... plenty of that this time of year in London. There is a car studio in east london with a grey cove but its pretty small. What is it you're shooting?

Panthers are a nightmare.... I use them in Turkey (no choice) and its painful. Avoid. Movietech is an Italian copy of the Peewee..... Not great. My dolly of preference is still the Hustler. heavy, solid, super smooth jib...... fabulous bit of kit.

If you dont need reach then a scissor lift is better than a Condor. You can back the frame away from the light........ I'd also put a 6k up there with a set of wires...... tell him its a 2.5k..... he'll never know... ;)

The isolation rigs work great with a gyro remote head but are next to useless if you're thinking of operating direct

Any Grip worth his money will have his own kit or get it in. Most UK shoots would also have a rigger who will get anything anywhere with steel tube, fittings and 20 minutes. You may find yourself in dangerous territory if anything goes wrong and you don't have a competent Grip on the shoot. Money well spent.

Maybe you should pull focus for a few years Nick, you'll learn more than asking hypothetical questions that have infinite answers. Its not pure maths.

Kenko (formally Minolta) http://www.parkcameras.com/ProductDetails/...9/categoryID/46 Incident / spot, good size, reliable and unbelievable battery life.

"...green..." "...ignorance..." "...Iraq..." You serious?

Undercrank.

Rent them first Jon..... other peoples mistakes will save you a lot of money....

Any rental house will rent you one. They all seem to add a bunch of stuff to the camera end and I've not seen one yet that keeps a decent picture thru the day

Shooting nights, nights that have a habit of turning into days, tired, so yes way too complicated No screen, just walls, faces, no fixed size Thanks Phil, next time I get 6 hours sleep I'll digest your answer, cheers.

Too complicated to me anyone know what stop I'd get? Any asa, I'll do the easy maths from there.... Thanks

If I project white from an LCD Projector (3000 Lumens) roughly what stop will I read at say, 10 feet on my incident meter..... Ball park will do fine..... Thanks

I wouldn't worry about the gear, enjoy the country. I've been to over 60 countries, Vietnam is THE most amazing place I've been, the landscapes, the people... it will touch you....

Sincere condolences. Nice man who lived through such an exciting time in our industry.

Albeit under the Kenko name. Bad name, great meters Probably old news but I was pleased to see them..... http://www.jafaphotography.com/kenko_kfm2100.htm

Fair enough, we'll finish this over a pint.... (I'll still be right though) :) No in fact Gunther was extremely dismissive of the problem "nobody else has had a problem" he told me. Well thats not true, it seems this is a problem on some 235's. My camera went back to Arri GB, who couldn't find a problem until a technician from Movietech went down there.....suddenly it was 'Oh, THAT scratch.....' Its been in Munich ever since. Not bothered as they've give us a loan camera so they can take as long as they like. A theory put to me by Greig Fraser in Oz who has a very similar problem, is that the extra tension on 435 mags may cause the smaller motor to struggle a little, affecting the tension on the neg as it passes through the mech. I dont think we'll ever get an answer from Arri, I'd love to be proved wrong, but it'll be interesting to see how they propose to cure the problem.

Phil, with respect to you..... No I'm not wrong, I'm spot on. If I ask for an ND its an overall. Period. If I want a grad I ask for a grad, (However Attenuators are Blenders :) ) I would advise you never order a set of ND's and expect to get Grads and Blenders, you'll get overall .3 / .6 / .9 and if you're lucky 1.2. Like yourself I carry my own Any way. grads and blenders will pull down the exposure in specific areas to keep the detail on the neg (or conversely push unwanted detail into black). You cant do that in Post. You can improve it, you can enhance it, but if the information isn't there to start with you can do nada. "With experience" you'll find you'll want to do it in camera.

There are two fuses on the arri 3. The one at the top by the 24/25 switch and the main fuse. Take off the right hand side cover... the fuse is obvious. It usually blows when plugging in or unplugging the high speed control or reversing plug while the camera is still connected to the battery. NEVER do this. Arri Munich or Movietech in London would sort it. But try the main fuse first

:lol: Sorry to laugh but that was genius....