Adrian Sierkowski

Honestly I'd go with the recorder which also gives you an external monitor; ya know; can be nice.

The Blackmagic 5" Recorder? It's cheap, uses SD Cards, and does 10bit Prores? Just a suggeestion; something to look into maybe ?

Honestly; just want to say none of the above is legal advice, myself and no one I am aware of on their forum are legal experts or actually allowed to practice law, and are only offering opinions based on personal experience. To really know what's what with your specific project, you need to actually start looking at who owns copyright to your tracks and GER AN ACTUAL LAWYER to weigh in on the legal ramifications of things for you. If you are planning to do anything, at all, with your video, then get the clearances.

I mean if you wanna be really crazy; get an under-water housing for the camera. This will be a PAIN IN THE REAR, but will give full control of the camera buttons, and a way to view the image, and the camera will not get wet. Otherwise, I prefer the rain-covers for the camera specific when one can, else, you're jury rigging something, which is fine, but generally not as good as a proper rain cover which tends to have access points built in so you don't have to un-do your tape situation to change media, for example.

this one is 25W max per bulb; it says https://www.amazon.com/Toplimit-Splitter-E26-Conventer-Intensified/dp/B01FKIE6M4 or something like this: https://www.amazon.com/Godox-Multi-Holder-Tricolor-Lighting-Socket/dp/B01HXMCZLO I just wouldn't use hot-lights in them; just LED or CFL.

I have 100% hand held that specific BL4 many many times, and I am no jacked super-star. It's not that bad at all. Pretty sure the tripod the use (or used to ) is a 100D @ Temple, assuming it's the same stuff I used there-- so more like a $1000 tripod; used. Just use the 400' Mags for hand-held. Save the 1000' for tripod use. And if you wanna get crazy crazy, talk to your lab about breaking down your 1000' loads into 400' loads for you and even a little 200' shorty-- makes ordering a little easy if you plan on using the 1000'

Oh yes-- I know that package. . . Hopefully they've expanded their lens selections.

Which school in Philly still has a BL knocking around? And honestly, you could probably pick up 1 or 2 of these: https://www.bhphotovideo.com/c/search?sts=ma&fct=fct_category|battery_packs_belts_3722&N=0&Ntt=12V Camera Battery

I just signed up for the early access. Shooting tomorrow with a bunch of LED, Neon, and video games, so who knows, if it downloads by then I'll be happy to report back.

Here in LA, at least, I have never been asked for either a Black Magic or a Panasonic. The Panasonic I have never used, ever, and the BMs I have used, but normally they have been a "well let's save money on camera rental and put more of the (small) budget into lighting" with a BM camera. I do rather like the Pocket 4K, though, and that might be a worthwhile investment on hand as you can C camera it on other shows, and it's size can be helpful (and price). As for FS7 or C300, in LA, at least, it's been MUCH more C300 (though I really dislike that camera. For me, at least, I haven't been asked for an FS7, though I have many times suggested and shot on it as I personally like it more (for many reasons). All that said, I would wait to buy until the FX9 or C whatever number. Not because you might pick one up, but because there will be more on the used market of the 7 and C300 which may lower price enough. However, if you can get the 9 when it hits the wild, I would go for the newer tech as it'll be an easier sell (selling up -v- down). I can't think of many clients who would turn down the newer breed of cameras.

You can't compare the legalities and normalcies of 40+ years ago, in a different century , to the realities of today. As for permits, in LA, you need a Permit for EVERYTHING-- yes even in your own home. And so you're need permission. That said, I've never heard of a film, in which we have stolen things, ever getting into trouble for the stolen shot(s). The real thing you have to be aware of in filming without permits is SAFETY. You can get yourself into positions you shouldn't be in for numerous reasons-- hence why they don't give permission to shoot easily.

I do really like the swivel chair idea. Good luck.

I mean, the easiest way to do this is to rent maybe 4 Astera Titan tubes with the wireless box and just program it. Not the cheapest, of course, but the easiest. The other option, barring that, maybe rig a small battery powered light to the side of a scooter and have a friend ride around in a circle? (they'd have to duck in the back of course) Rig Light to small RC Car? instead of making it a circle see if you can do it in a straight line and just pull the light across the the floor from one side to the other?

BCA- 250W 4300 (ish I think?) K color temp. I perfer the Ushio ones. 211 75W 212 150W 213 250 W that's all for US Voltage 115~120; not sure if they are numbered something else elsewhere, but this is the basic have on every job bulb kit for electric-- and not even just china balls, but everything. Also nice to have 60/40/25/11W bulbs in Medium E26 (Edison) Base as well as some 60/40/25W Candelabra base bulbs for those annoying lamps (E12 I think?) Get Frosted. the un-frosted while offering more output I never really like, unless the shot calls for it. And of course hand dimmers. I really like the 11W 130V sign bulbs, medium base something like this: https://www.1000bulbs.com/product/153990/SATCO-S3966-4PK.html Lasts longer, a little warmer, and often you don't have to throw them on a dimmer because they are so low-wattage.

I don't really care about the camera or the lenses, I just want the film to mean something to people and the visual approach to compliment that-- so whatever camera works best is what works best. Though, that said, I would love to have done some 65mm Reversal shooting, or maybe, go a bit crazy with 35mm Infared-Colored film; if one could. Would be nice, also, I think, to play with 2-strip color film; just to see what it would be like, learn something new, and honestly film in a new (well old, but new to most) way. Also we would do as many practical effects as possible. And somehow the coffee would be both plentiful on set, and also as though made by angels always. And the wrap party would be well catered and all the crew given a bottle of their favorite drink at wrap.