Adrian Sierkowski

Did you try ghost loading the dimming circuit with say a 25W or 40W tungsten? Found that can help sometimes with the sudden on/offs of quasars.

Well then you need to think about what topics interest you that you actually care enough to write and research about.

We could; but you should honestly be speaking to your professor about guidance as they know you as a student better than we do. And honestly, coming up with the subject matter is really part of your homework as a whole.

is there a world where you get 2 alexas and see if one of them isn't. .. funky.

There's a chance I'll be on Sk4s/S4s on an SR3 in June in Chicago, via Panavision, if we go that way I'll report on the VF issues as it was something I was told was problematic years ago, so never tried.

They certainly could flicker, or worse be out of sync. Easiest way to test would be to see it on a camera with a 1/48th (or 50/th) of a second shutter speed, assuming you're shooting 23.98. And then messing around with shutter angle to see if you can get them to go away (172.8 degrees vs 180 for example).

Balloon lights are kind of the way to go, and actually might be much cheaper than S360s/rigging gak and especially in time. As you're inside I believe you can use far less helium than if you were outside-- and perhaps even can use air instead if it's just the inflate the thing and it is tacked, somehow, to the ceiling.

I mean is there a world where you try this for a test on a go-pro really quickly; or similar. The newer ones are pretty ok and you can counteract the wide-angle look as well if you are finishing below 4K ( in camera)

Well we're working backwards in our wars, maybe.

The night work was fantastic, no doubt. But yes, the rapids (which looked rather computer-ish) and perhaps the fire-side "chat" scene felt a little.. eh. Then again; what do I know. It's not something of the caliber I would ever do, or really, honestly, be interested in doing in that style.

I agree with Mr Irwin above. Saw it, it was technically fine, but when I asked all my friends after the name of ANY character in the film, none could say. And honestly, after the final "scene," I walked away with nothing more than a want for a cigarette. Just because you CAN do something doesn't mean you SHOULD do something.

I just don't see that as anywhere near Arri's target market. If they had had any interest in that whatsoever, they would've probably already made an "affordable" camera in the S8mm home-movie days. They have had over 100 years to do such a thing. The sad truth is, though, that Arri is already incredibly affordable when you realize they are courting properly budgeted productions so that the work their cameras help produce is of a high-caliber which really keeps their image as the top of the line suppliers for professional motion picture work is concerned.

To be honest, if you know you're traveling, and where to, you can always ship the film to your hotel, or some local area, to be picked up and avoid the fondling.

Whenever I have had film with me, motion picture or otherwise, I've asked for a hand inspection and rarely had a problem.

It's illegal FEDERALLY in the US, not just California, and has been since I think 1938?

A basic film work day is 12.5 hours (with .5 being lunch, unpaid) And your day rate already factors in the overtime after the 8th hour. So for example, if I'm making 800/12, then on my time-card I would put $57.14/Hr as my hourly pay. You get this by dividing the day-rate by 14 for a 12 hour day and that takes into account 1.5x time and the 2x time. Many shoots, especially music videos, it seems will go into 14 or even 16 hour days, on occasion. And this is paid as over-time like anything else. This applies to most everyone on set who are, by law, employees and not independent contractors, and therefore must be paid over-time. Now a LA-Centric thing will also add 1 hour to the work day, unpaid, on each end, for your travel to and from location, generally, as well as the getting to set 15 minutes early and the often 15 min or so of B/Sing with the crew or talking with the producers and director after wrap (but off of the clock, generally) about whatever. And for myself, maybe another 30 ish to 45ish minutes at home after going over the day in my head or prepping for tomorrow, in my head. So, on some shows you may be putting in 19 hours in a day (or more) to just that one shoot. And they wonder why everyone is so upset when there isn't breakfast and coffee RTS before call. .

If i am in any way incapacitated and cannot work, I'm screwed. That's my biggest fear.

To those who celebrate, and those who don't, may your holidays be as though the Arrisun has finally come up to full power; bright and warm. And never forget:

If you are going to go the goalpost way with speed-rail, depending on how far apart you need the stands, you might want to look into triangle truss makers, still just speed-rail but 3 of them in a truss form. Substantially more stable and less likely to bow. Or use a shot-gun to just double the speed-rail, again, less bowing. Mirror idea can work, can also be a pain.

There's also the 858 meter out now.... but it's annoying and I strongly dislike it.

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.