Rory Hanrahan

I was about that age when I got my first copy of Pincus & Aschers' "Filmmakers Handbook". While most of it was way over my head, it did instill enough knowledge and respect for the technology for me to get started a few years later. I'm sure the chapters applicable to what you're teaching would be a good start, at least. I taught high school level cinematography for a few years before landing AC work full time, and I rarely gave out book recommendations (except to the really devoted students) simply because its hard to find a book on the subject that's... Casual?

That'd be it! In fact, now that I see it I remember that we rigged 2 of these into handheld grips because the ones we ordered (from Zacuto no less -- d'oh!) never arrived. Not to knock the Z though, I've been happy with all their gear and love playing with whatever new toys Able has in the showroom (also, they have the flashiest follow focus whip I've ever seen).

I'm a huge fan of Ultralights, which I discovered after a DP brought his set onto a feature I did a few years ago. They're very modular and "tinker-toyish", but can be built to support pretty much any size/weight monitor. Not sure if they have a pre-fab attachment for a rod system, like a mini-Cardellini, but I'm sure you can rig something remarkable up with them. Ultralights sell at FilmTools under the "Monitor Support" page (sorry, no link, typing from my phone). They're kinda pricey, but the payoff is in their adaptability and strength.

The film you shoot for the reg test / framing charts / etc should be sent off to the lab for rush processing while you're still checking out. If you cannot arrange to view the projected negative after it gets processed, the lab should be able to take a peek at it and let you know if there are any immediate and noticeable problems. Talk to the production manager and make sure they have let the lab know that this will be happening. Most (good) rental houses will be able to project the lenses to show you their quality and sharpness. If they can't do this you'll have to rely on your own eyes thru the finder to judge the lenses' quality. Use the sharpness chart in your checkout booth / room at the full range of aperture and focus at different distances and if the lens doesn't look sharp, doesn't focus true to the barrel markings, or just looks like an old beat-up piece of glass talk to the rental techs, as well as production, about the problem -- and work out a solution. It can be a hectic day, especially since you'll start shooting the next morning (leaving little time to deal with the problems that may arise), but keep a level head and deal with all of this stuff as systematically as possible and you'll be fine.

I'm using a Hilti PD-38 and find it to be remarkably accurate. I suggest springing the extra $100-150 and getting one with an optical sight though, as the laser alone can be quite useless in bright sunlight (advice also given to me by another AC, which I regrettably ignored?).

Yeeeah, SEPTA's roughly half the problem with the Philly scene! I remember one show I did in '06, traveling from South Philly to East Falls added roughly 3 hours to my day (its a 15 min drive, tops!). I was a grumpy MF'er on that shoot! PhillyCarShare has become a godsend though, even if it eats up a good chunk of my day rate for a 14-16 hr rental? Anyway, used to drive a sweet Civic, but after it got totaled in a hit-n-run I used the insurance money to produce a flick? Yeah, I got my priorities straight! (That's OK, right before that incident Philly PD practically bent my driver's side door in half breaking in to move it when Hack was shooting in my 'hood. Damn you David Morse!

Interesting theory? I'd like to have been a fly on the wall when the incident you speak of happened though? Personally, I think it was just a point of professional pride, that the colorist felt it was unnecessary and had no qualms about letting us know that. But you've got me thinking now? Perhaps what's needed here is a Producer's Manual similar to Hart and Elkins' AC Manuals. Chapter 1: You are NOT Always Right; Chapter 2: Sorry, You're Usually Wrong; Chapter 3: Just Sign the Damn Checks, Please?

Its funny, I just finished a feature as a 2nd where the colorist told the DP (many times, apparently) that he wasn't using the chart, there was no reason for the chart, stop using the damn chart! Obviously that made me even more adamant about shooting one! While I know that most good colorists can work without the reference, I couldn't understand why this particular one was so vehemently against having it on the roll? Sorta became the running joke in camera dept: 2nd: "Quick, lets pop in the chart!" DP: "Aw hell, their not using the damn thing anyway." [camera rolls] 1st or Op: "Got it!"

Chris -- You're absolutely right, and while I was trying to convey that point as lightly as possible, I have also been waiting for the captive bolt air-gun to knock in my doorknob and cry: "Nay, you silly bastard, nay"?

Just keep in mind that there is an effective change in focal length (like putting a 35mm SLR lens on a smaller format DSLR). The lens is the lens is the lens, but your field-of-view will change based on your format.

Just a quick (and not necessary thorough) reply: My first thought is to go 16. Obviously you're going to get some of the visual aesthetic you'd want with 35 (never been to Aus., but if you're shooting mostly daylight you can probably use a slower stock and keep grain to a minimum?). Also, 16 would probably handle the higher contrast of the outdoors better than HD, which (depending on your process & techniques) may be liable to clip (like I said, I'm making a lot of assumptions about the shooting conditions). While it may seem like a lot of work (and doesn't necessarily answer your question), I think that, realistically, you need to do a budget breakdown for both HD and Super16. I find that HD isn't as "cheap" as many think it is, especially when the issue of file-backup and maintenance comes into the picture (especially if you're going P2 or Drive-based, rather than tape). You may find that shooting 16 provides you with a higher res master and the ability to spend more time in DI/transfer. You may also find that the cost of stock prevents you from any serious post-time. There are so many variables, its hard to give a single answer. One way in which HD may benefit you though: well, there's the old idea that "with video, you can shoot and shoot and shoot", which I do not ascribe to, but hey, your director may like the idea of getting more takes without the constant worry of "How much did we shoot?!?". I hope this helps in some abstract way. Best of luck.

I'll second Du-All for your needs. While there are tons of great rental houses in NYC, and I wouldn't want to seem like I shill for one company, I often go with Du-All for low budget and student prod's (y'know? back in the day). For the gear they have/price range, they can't be beat, their gear is well-maintained and the staff/owners are beyond friendly -- even if you're a young 'un with tons of questions (because there's no such thing as a stupid question, right? <_< ). But like I said, that's a recommendation and not an endorsement. You're best bet is always to call around and build relationships with the different rental houses.

The software I used to use was called Eubank's Log, and could be found at davideubank.com. It's great software, and really handy to have all of your notes electronically stored, but ultimately I decided that I like taking notes by hand better (especially when sending film to a lab -- for me carbon copies still beat moving files and printing). The program needs the HanDBase app to run, since its built off of its spreadsheet architecture. If I remember correctly, Eubank's Log is free, but HanDBase costs ~$30. Also check out David Eubank's awesome pCine and pCalc apps -- more essential to the Palm-wielding AC than the electronic logbook, IMHO. As a disclaimer -- while I loved Eubank's Log, I was less enamored with the way HanDBase handled file transfer to my Mac (and eventually to Excel). I remember losing some important notes because HDB wrote over the files upon transfer. Be sure to get your sync down before you employ this on a shoot.

Goddamn Right! Its about time we clapper CHUDs get the recognition we deserve (?)!

Yeah, its a great tool, but the fact that you have to be online kinda lets the air out of all of the WebApps right now. I know that Apple is releasing the Software Development Kit for iPhone in the next few weeks, so hopefully we'll be seeing this stuff as standalone apps very soon?

Sorry for the double-post, but to Simon: Whips and cranks are generally a part of the package, I've never left the rental house without them. I have worked on gigs though (usually those fly-by-night, one-weekend "great experience" jobs that you take for a quick under-the-table $300 in your pocket) where the DP or other so-and-so doing the "checkout" have no idea what they're doing and don't get what you need. I've always believed that its better to have a tool and not need it than to need a tool and not have it?

I'm not sure what the "new" industry standard mount is referring to, as I've only come across the <1/2" Arri-type mount we all know and love. Thanks for the review Michael!

I'm excited for Blu-Ray as an archiving medium as well. Once again, I had planned on utilizing it for the last big P2 job I did, but the producers couldn't justify the costs of the burner (even after our 1st AC pointed out that Best Buy etc has good return policies, usually just a re-stocking fee!). Had I a P2 package of my own, a Blu-Ray burner (or Mac w/ said burner) would definitely be part of my kit! On a more consumer-grade-oriented aside, I've been told that Pana's AVC-HD no longer work's with FCP, but rather (through a Pana-produced piece of software) is now converted to MXF upon import and ingested into FCP as DVC-Pro HD? I'll always embrace low-end formats, and I think its a pretty decent workaround for those of us "slumming it", but does anybody here have any experience with this system?

I'll also add that I'd like to see apps like pCine and Eubank's Log ported over to iPhone, as well. These were the sole reasons I bought a Treo last year (big mistake), and now that I've smartened up and went with Apple (Hey -- no jokes!) I'm left without such luxuries? digitalrebellion.com has some good webapps though, such as calculators for HD space and film footage-rate that can be useful? If Excel (or Numbers, for cultists like me) were adapted for the iPhone, I'd have the ass-kickingest camera reports ever, but when Jobs? When?

With all due respect to your current education situation? Publicly dissing your crew -- with or without naming them -- is not the most mature behavior. Even if some wayward tech f*ed something up big time, you really need to be able to internalize that and learn not to blame others for your shortcomings. If I ever heard a working Cinematographer make that claim? well, I wouldn't be knocking down his/her door to work with them in the future. School is the place to make these mistakes, best of luck with all of them. Also, there are countless discussions on this site in the proper forums dealing with cinematography education and information about the camera you are asking about. In the future, I suggest looking up your topic before posting.

I'm a huge fan of the P2 workflow, having AC'd 2 features utilizing it, as well as a number of MV's etc. What I keep telling others just getting involved with it though, and as you yourself found out the hard way Tom, is that in order to manage the workflow you have to be on top of what's going on with the tech, what Panasonic is planning, and how your other gear (post setup, etc) all work together. On both of the P2 features I did, there was something -- be it big or small -- that we were unable to do because the tech was catching up with us. On the last one (shot with Abel's Panasonic HPX3000 -- hey Mitch!), initially syncing ourselves up with our post house was a nightmare. We had to dictate exactly how the editing setup was configured, or it was a no-go between production and post (that being said, we did work out our differences in software/gear and getting the footage into their system was a breeze thereafter). It's amazing (also: funny and scary) what new knowledge and discipline is needed by camera dept. to keep things running the way we expect as we transition into new formats, workflows, etc., but (especially with P2, in my opinion), the ingenuity needed to get a "new" system up and running pays off remarkably in its reliability and ease of use later on.

Yeah, the FF looked kinda shoddy from their website -- then again I'm never even happy with Chroziel FF's (there's always play between the grip and the housing due to slightly different key sizes), so I guess I'm a picky customer? I guess we'll find out the answer to the question "how can you f* up a speed crank/whip" then, huh?

By the way, and I don't know if this was what led you to post the link Chris, but there was a topic started on the SD forum with some negative things to say regarding build quality of their FF?

Well, in a word: No. There should be no wobble. Can you specify the exact problem? For instance, is the gear wheel not matching the teeth on the lens? Does the dial wobble in the housing? I would get in touch with the company ASAP. Hopefully this is a one-time problem, and not a manufacturing issue? By the way, what is the unit constructed of? Plastic, Metal? Chris Keth just posted a link to this company in the AC forum (I had never heard of them previously), and the very next post I see is this one. Damn?

Awesome! Thanks for the link. Although not quite as cheap as "forgetting" to return the whip? (I kid, I kid?) Anybody here have any experience with this company's products?