John J. Moers

I was wondering if anyone has experience simultaneously shooting with a F900R and F900/3. How close were the looks of the cameras? (If similar, what exactly is improved in the picture quality of the F900R? If the chip is the same, is the signal processed differently?) Was it possible to set up both cameras the same by having one camera read the Memory Stick of the other? (We were unable to do this.) The menus are completely different. Incidentally, when playing a tape on the F900/3, which was recorded on the F900R, elements within the frame tear around the edges. This is only noticeable with subject or camera movement. Doing the opposite: playing a F900/3 tape in the other camera results in a normal picture. However, on a HDCAM player, all the images were fine. I was told by a Sony engineer that this is normal and has to do with tracking, which is all corrected in the player. Do you have any other thoughts or potential issues arising on the set when using these two cameras on the same project? Thanks.

Just wanted to add that if any DPs have any recommendations for EPK sound people in the New York area, that would be helpful too.

I am looking for a union sound person with gear in the NJ/NY area with EPK experience. Tentative shooting dates are October 24, 31, 1, 2, 3, November 9, 13, 14 and 21st and may shift during the production. It may be ok, if it is not possible to cover all the dates, but that would be preferable. This project is being shot on an F900 in 24p. Send resume, equipment list and day rate to CineAltaPrague@aol.com. Thanks.

Thanks Stephen, Before I got your message, I just happen to contact Cine Electric by chance today and it was the perfect choice. They were exactly the company I needed. Much appreciated.

Shooting in Dublin, Ireland next week (Oct. 9th, 10th, 11th) and I could use a contact for any local individual or rental house who would have a small set of tungsten lights. Preferable a kit in a case, if possible. Ideally, I could use an Arri Soft Bank kit IV which contains: 1000W openface with Chimera, 650W fresnel, 300W fresnel and two 150W fresnel lamps (with stands, barndoors, and basics accessories). Anything similar to this would be ok too. Any suggestions would be helpful. Thanks.

Brian, I have a 2nd work/home base in Prague but shoot all over. I don't know what kind of monitor(s) you'll have, but with my Cinealta I use a Sony 9? (BVM-D9H5U), either AC or DC. When I bought it last year, Sony assured me it was voltage sensing, but it wasn't. The AC adapter power supply that came with the monitor does not handle 220v and I was forced to buy a second one that did. I have an Arri tungsten light kit with a mix of lights including some 150w fresnels. The bulbs in those 150w lamps are bayonet mount, unlike the same exact lamp in the 220V version. No one ever even saw these bayonet lamps in England. I finally got them when I was back home at Bulbster.com. I work often in London and be warned ahead that currently, you absolutely will not be allowed to hand carry your camera on the plane for a departing flight. Make sure then, you have a hard case for checking it in. Because although they assure you that your camera is going to a 'special' fragile handling section-it isn't. You'll find it riding on the baggage carousel when you land at your next destination. HDCAM tape stock can be ridiculously expensive in some countries in Europe-more than double the price that I pay at home. Bring it with you. The site below shows voltage and plug/socket configurations around the world: http://kropla.com/electric2.htm I assume you are getting a carnet. If you need anything while you're in Europe drop me a line here. John

Thanks David for clearing that up.

Does it mean there's absolutely no shutter mechanism in effect when running an F900/3 at 23.98 with the (front switch) shutter off? Wouldn't the motion blur be horrible? When I tested it, it did not seem bad in the viewfinder or in a live shot on a monitor. I was shooting talking heads.

Can anyone please explain this union situation? I'm trying to understand the process of joining IA local 600 in New York but it's not exactly clear. I shoot behind-the-scenes and may have an upcoming job in NY. In this situation (and most cases), I do NOT work directly for the studio, but am hired by a 'middle' company (which happens to be located in LA). I know that if I want to work on a union production in NY, I need to join IA, pay the fees, dues, etc. This part makes sense. But when I spoke to a person at the union office, they said that to join, I must do all of the above PLUS, I must ask the company who hired me, to contact the union office and they must go through the process of signing a contract with IA. (I was told that this insures that they pay me the minimum rates.) In addition, the IA person stated that this will require them at some point, to pay something. Frankly, I would hope not to have to hassle my client by asking them to do something they wouldn't have to do on a union picture locally in LA. Supposedly the rules are differently there. When I mentioned it to them briefly, they had no idea what I was talking about. A big negative is telling my client that this arrangement will cost them? What is all this about? Is there some other way to handle this? Why can't I sign whatever agreement with the union myself? I'm a sole proprietor, it's my business. Is there some stipulation I must be incorporated? I control day rates for me and my equipment and can make sure myself that they are above scale. Let me know if it makes any sense. Hopefully someone's been through this.

Thanks for the reply. How about the Cinealta camera package? I was hoping to put together one price for 2 person crew and all the HD gear.

Does anyone have any idea of a ballpark figure for the day rate of a two person crew (DP and sound person with gear) in LA and NY (if they differ), with a CineAlta documentary package (F900, ENG wide zoom, stix, portable monitor, set of basic lights, etc.)? It would be behind-the-scenes work (b-roll, interviews). Thanks.

Thanks Mitch, much appreciated. When you get back, let me know if you happen to have any of the model numbers of the items you mentioned. Were there any other things you guys use regularly that I forgot?

Thanks David. The catch is, the F900 is mine. A potential client asked if what I wrote was possible. I appreciate your reply.

Does anyone have a comprehensive list of everything I would need to do (as in modify) or purchase, to use my F900/3 with all the regular film accessories and any film lens? I am not thinking of the mattebox, follow focus, stix, etc. but specifically the specialty items that "convert" the video camera to be used in place of a 35mm camera. For example, it's straightforward when using a Pro 35 adapter with primes, but how do you mount an 11-1 Primo on this thing without ripping the B-4 lens mount off the camera? Who sells such a support bracket/plate for a heavy zoom or long lens? What do they look like? As well, I know Chrosziel makes a heavy-duty modified quick lock plate that 'locks' down as well, the back of the camera. Is this the only choice. Any thoughts on this? What's the best extention viewfinder out on the market for the cost? Or is it best to just go with an onboard LCD? My camera has no board for SDI out. What about downconvertors? There seems to be so many out there. Does the quality of these devices vary? I would most often need a PAL signal to feed PAL monitors on the set. The 'on-board' mini Miranda MDC-700 seems like a good compact solution. Is it any good? How can power my camera with regular 35mm film camera block batteries? The F900 is obviously 12V, but what are the do's and don'ts? The DC in socket on the back seems the same. Is it safe to plug in? Does my technition need the camera's schematic to figure this out? While they sound fantastic, are any of the modifications that Clairmont Camera has made to their F900s important to do, if my camera will be going out on a feature? I'm particularly concerned about the robustness of this Sony product in a feature film environment. Does anyone have any experience in this area? There's a lot of issues here, I realize. I appreciate any input anyone has. Thanks.

Does anyone know if it's possible to get 4:4:4 out of a F900/3 or is that only possible with the new F900R or an F950? If so what do I need?