Adrian Sierkowski

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.

Don't own something unless you HAVE to own it. If I had 20K sitting around I'd put it into some kind of investment fund; and then use the interest it generates over it's lifetime to buy the things make my life easier--- such as fav filters, or maybe a special light, or literally anything but a 20K computer which may or may not be outdated every single year because of an announcement at NAB. It is sad, in many ways, that we are to the point where the camera is nearly disposable. 'Course if you asked this when the Amira launched, then sure, go for it. But think about all those buys who just bought the Alexa LF; only to have the LF mini come out. . .

Most CFL is kind of crap. And aside from that the output it kind of crap. But, they can and will work in a pinch. It does depend on which CFL bulb. I have used the Kino branded ones, and they worked fine. For LED, Quasar has bulbs which work find, and in the past Cree made a good 100W equiv 6000K LED which worked fine. The problem is, with CFL and LED, is that there are so many out there now you really need to test which-ever one you'd going to get on camera. I would say (and though I'm not a huge fan of the 120/300d) If it's a paid gig, i would 100% get one of them, or go with a 2K Gelled. Or even renting older Kino Flos, which seem to be able to be had for a song (as everyone in LA seems to be throwing them away) would be a better choice.

Honestly; when I do such things, I much prefer to actually draw it out with paper and pencil, then scan it, and long ago used to transcribe that in illustrator (basically drawing over). But; I'm strange like that where I try not to go digital until I have to. I still hand-write my equipment lists before I transcribe it into excel. Also this "double work," seems to help double check what I'm doing. But, as for digital only type things, honestly, shot designer is all I've seen, used, and been given on almost every show... so. . .devil you know and all.

Highly recommend pushing for a wardrobe test day. and a makeup test day. it will effect all of that. . .

If you want to kino-form factos you're used to, you'll be looking at Quasars which are in Kino Housings. If you want something everyone loves, you're looking at a skypanel S60 -w- chimera Or you can go lite-geat litemats. The 4 and 2L especially

Depends how you want to quantify that. Truth be told, the camera that the studio is already set up to use, and everyone knows how to use, is generally better than a new camera everyone has to relearn and which needs to be rewired/built into the studio workflow. And dynamic range and color reproduction aren't really that big of a deal when you have total control over the set in the very flat lighting those types of shows involve.

In china-balls many people wrap lite-gear LED ribbon around, say, a toilet paper roll's cardboard core, and throw that up in in a china ball. I have done it wrapped around the Styrofoam spheres you buy at arts and crafts stores to make a solar system and you can then use a D-Tap adapter to power it up off of a camera battery, or if you want, buy any 12V batterypack you may need.

Actually I kind of liked index cards, personally. especially these: https://www.amazon.com/Oxford-Self-Stick-Premium-Weight-61400A/dp/B073SFFC9C

When we had to do coke it was, I believe, infant formula. And yes, the actress did snort it-- though I do not think, generally, that is what is done. It was a long time ago. As for the burning-- that didn't seem to be a problem given how quickly you light and then stop-- Though I do wonder if you could prop it just right to combine a small vap-pen in the pipe somehow and then you just put the torch close to it.

Well when we had to do it we used a real crack pipe which we bought from amazon. It's called a glass pipe. For the crack we used rock salt, but we didn't actually burn that. I honestly forget what we used to actually be smoked, but I do recall we covered it in a cut and I think just replaced it with herbal cigarettes.

Instead of building a whole frame as a square you just use one section of the pipe attached to a stand; basically forming a T, if you can imagine that, and then hang your cloth from it. Only really works for interiors where you don't have wind and the like and just need something put up quickly.

I tend to always keep track of my own hours and fill out my own time-cards as I really don't trust anyone else to handle that.

I am sure The Rag Place can make that up http://theragplace.com/ I've seen 4x4s of such material before, and asked for it on occasion; but honestly, normally on a 4x4 frame we're doing gel cuts. For interior work I much like a 6x6 or an 8x8. Normally we'd just T-Bone them, no need really to build a whole frame. Depends on the space, of course. Sometimes we need to use a 12x12 T-bone, even if it's just a living room.

Wouldn't an Alexa Mini tick pretty much all your boxes? It seems to be the go-to for owner/ops.

So? You like what you like. Your style is your style; it will evolve over time.