Adrian Sierkowski

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.

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.