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Bryan Fowler

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  • Occupation
  • Location
    TN, GA, NC, Airports
  • My Gear
    C300 / ARRI Amira (May 2014)
  • Specialties
    Steadicam Operator

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  1. Great Options Ed. Thanks for that. And yes, realized after the fact that I should have said 100w max for my 12A batteries. But it's ideally for charging a laptop, which I think mine is a 60w power inverter. (I do realize it's converting DC to AC then back to DC... I wonder if there is a way to direct charge a laptop?) Although I can see powering a small 45W fan I have for the summer months of hell.
  2. It would be great to be able to use a gold mount battery to power a small 100-150watt AC inverter. Is there already a solution out there for this? Just to run small things like a laptop, or tiny fan, etc?
  3. sorry. humor over internet is weird. = ) No rocks planned. I'm basically wanting to copy, or mimic a super duz-all mini cart, to fit in my sprinter a little better. So a few Cstands, 4x4 things, a skypanel and some shot bags won't be near 800lbs. At least I don't think. I was considering 10in wheels for better clearance coming down the back ramp. (no lift gate on my sprinter) And maybe a little easier rolling over art dept's feet. (joke) Hoping to find something with a hand brake system so whoever is rolling it down the ramp can easily stop it from getting away from them.
  4. Thanks guys. I looked through Backstage's website. I didn't see where I could buy the wheels / casters, with or without breaks. Luckily I won't have to pack these up, since they'll live on the cart they'll be welded (or bolted) on, in the back of the sprinter. I know Inovativ has some very nice ones, and it looks like the disk brake was something custom for them. I'll keep looking, and maybe call them and see if they have ideas.
  5. Hi ladies and gents. I'm possibly building a custom cart for all my...rocks....or something. I think having casters that have a remote handbrake would be awesome. Hydraulic would be cool if Google hasn't helped me find anything. I'm guessing the cart and all the... rocks... will be 800-1000lbs max. Can't imagine it being more, but you never know. Any thoughts?
  6. One reason you might hear people talk in watts on set is to make sure the don't trip a breaker when they're on house power.
  7. If you're using the mushroom kind, you should probably get circular polarization antennas. And make sure that your RX, and your TX both have the right kind of polarized. left hand twist or right hand twist. LHCP and RHCP are not that compatible. At least that's what I heard someone talking about while I was 10-1.
  8. Try a test first. it's easy enough. Shoot Prores 422 HQ, white balance "correctly" then make it clearly wrong. like, 3200 instead of 5600. Then go fixit in post. Same with ISO Personally, the "easier grading" argument doesn't work for me. if you shoot ProRes HQ there's plenty of data to push around. If you shoot 4444 there's TONS. I haven't grossly missed my white balance since we had B&W viewfinders. (1995) Sure I've shot at 4000k and later thought, I should have warmed that up some. But that's easy even with Prores LT. hehe I feel Geoff was right with the politics point. Agency people might think shooting RAW will instantly be noticeable in the final product, so if they want to do that it's fine. Just costs more. I think a lot of RAW misconception comes from people coming from photography RAW. If that's the case, they're comparing a JPEG with baked in "look" to RAW, so there is definitely a case for RAW in that situation since it DOES give you more options.
  9. I'm looking for input on how you guys handle the question of; who is responsible for insuring the production you are on, mainly when you are bringing gear to the shoot. I.E. DP with camera package, Gaffer with truck, or Grip with a box of random gobo heads and a ratchet strap. (that's a joke, I love my Key Grips) I work in a small market, surrounded by larger ones. So I get everything from, "great, glad you're available with your camera and truck, where should we send your COI" to "Hey, go do that interview with your camera and truck, but first send us proof that you are insured!" When I ask for a COI from THEM, There seems to be all sorts of opinions on why I should be the one to insure someone else's production. Some calls have told me, "since we're not there, you have to insure it" and, "it's your gear, you should insure it yourself!" as well as, "I wouldn't have to insure a plumber if they came to my house to do work, I would expect them to be insured." - In those situations I'm always trying to kindly explain what is normal. But what is normal? Is normal changing? I'm wondering where freelance people like you land on this. Do you require your client to give you a COI for that gear? If you ask for a COI and they say no, how to you judge when you are going to take the risk on yourself, vs pass on the job?
  10. Thanks guys for the input. I ended up doing a underslung thing with a dana dolly. This was just a test. But it was close in the end to what we did. It was on a 35mm. Tilted down for the plates, pulling back and tilting up for the end. Didn't see the rails. The actual shot we dropped the camera down just a little bit. This test shot camera build was wonky. Can't post the clip here, but if it shows up on social I'll come back.
  11. Hi everyone. I have a shot I'm trying to replicate on a budget. The camera needs to pull back over a table linearly, revealing 3-4 plates of food. Maybe a 3-5 ft move? If we had the budget I'd use a fisher with a ubangee, and maybe an RO. But we cant' do that. We DO have a dana dolly. I'm wondering if anyone has done something like that with the dana dolly?
  12. Ryan, when you say you compared the inverse square, are you saying you measured the same falloff with both sources? As in, you took a measurement, x=distance from the 216 frame, then doubled that distance and it was 1/4 of the brightness?
  13. I'd try opening a clip in resolve, or FCPX or something else. see if it's a Premiere thing, or in the clip. (maybe you did that already) But it's not something I remember seeing personally.
  14. Try exporting a clip, or frame. Is it still there? Premiere does dumb stuff to the color and gamma.
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