Seamus Mulligan-Ferry

Anton Bauer makes a Gold Mount plate that would power your camera, with a D-Tap port that I presume you could power your LitePanel with: http://www.antonbauer.com/products/categories/goldmounts The EX-1 rig looks a little goofy being underslung, but I know the EX-3 mount is a solid upgrade. Give them a call. For your Litepanel you would just need something like this: http://www.bhphotovideo.com/c/product/819357-REG/Litepanels_900_6104_Sola_ENG_2_Pin.html

You could try contacting Ron MacDonald at Cine Support Equipment, based in Montana. He's pretty much a one-man shop so delivery dates are kind of fluid, but he's very nice. I do know he manufactures RBQRs as well as anything else you may need* (QR plates, whips, cranks, etc.). I have no idea if he has a minimum quantity that he requires to manufacture, but he's worth a call. No website to speak of, but a quick google search says (406) 363-0022. Good luck. *Personal note: I really dislike the design of his spreaders (They fold outward when closing the legs), so just be forewarned if you are in the market.

It's set like a traditional film camera, by using shims behind the PL mount. This means it should be done during/before the checkout by a qualified technician with the proper tools (i.e. a collimator). In contrast to other user-adjustable systems, it seemed to hold pretty well, in my experience.

Hi Chris - My family moved to Atlanta a few years back, although I've never been a resident. For good burgers/beers, hit up the Vortex in Little 5 Points. Little 5 Points is interesting, although small (hence the name). I'm a soccer fan, so the Brewhouse(http://www.brewhousecafe.com/) is a good spot in that area as well. Any idea what part of the city you will be in? Atlanta is full of urban sprawl so that could be key to how much you enjoy it. Downtown seems to be very quiet and a bit of a ghost-town on weekends.

You need 138mm Round Split Diopters, which would fit into the front of the 138mm rubber bellows of your mattebox. If that sounds weird, think of it this way: Lens-->"Hard donut" that fits the front of your lens, i.e 80mm for Superspeeds-->Rubber bellows w/ 138mm retaining ring*Insert 138mm Round Filter Here*-->Back of mattebox-->Square/Rectangular fiter stages-->Front of mattebox. Any rental house should have a set, or they can be purchased from either Schneider or Tiffen (although Diopters are very pricey). The advantage to being round, is that it ensures that you can rotate the filter, hiding the "split" in the frame easier. One word of caution, if you are using the heavier diopters (+2 or +3, split or straight), be very careful when dropping in the rear filter trays. The heavier grade diopters often protrude very far into the back filter stages and get scratched when someone pulls out or drops back in the filter tray.

Mathew pretty much covered it. Cooke didn't reinvent the wheel when designing the 5/i's. They are excellent lenses that match the S4 "Cooke Look" as well as with the Cooke T2.8 Pancros. Up until recently, I don't believe the 18mm 5/i was available, so at least on the wide end most everybody was supplementing with S4s to complete the set. If you look at them on a lens projector they will perform very similarly, although with an extra stop the look at T1.4 is kind of different--in that you have the familiar Cooke "softness/warmth" coupled with the shallower depth of field of shooting another stop open which was striking the first few times I saw it. How practical and applicable that would be would depend on the shoot, of course. They hold pretty consistent when opened up all the way, although there seemed to be just a little bit more snap stopped down to at least a T2.0, as to be expected. Essentially, you decide if the project is right for Cookes or not, then you decide at what T-stop/budget you are going to be working with. If you have tons of night exteriors then maybe 5/i's will be right, but S4s should definitely not be forgotten. As noted, they do have the advantage of being much lighter (The 5s weigh about the same as Master Primes). Of course, they do not have the somewhat clunky-feeling illuminated focus scales, which, not being an AC, I don't care about!

It should be noted that S4s(Older Cooke S4s with no i-spouts) fit fine on an SR3--but Cooke S4/i lenses make you go with the wonky lifted-viewfinder setup. Ultra Primes indeed are clear until you get to the very wide end of the sets (UP 10mm,UP 12mm--not sure on the 8R) which has a thicker barrel and you have to raise the viewfinder slightly to clear the focus ring.

"WTR/WHT" refers to "Water White glass" -- essentially Tiffen's highest quality glass. Depending on your budget, you can decide if that is worth it or not.

It can depend on the lens, but generally it is just a matter of popping off the lens mount, adding or subtracting shims and checking on a bench collimator. With a Cooke 9-50mm, since it is an older lens (Std16), I imagine you may run into a problem of a lens technician not having shims that fit that lens on hand--so you may want to verify they have some that will work. Cost-wise, should take about an hours labor + the cost of shims.

Yes, they are standard 11pF (12v) & 3pF (24v), at least on the F23.

Along those lines, but just a thought--Would there be a disadvantage to coating a Clear filter with something like Rain-X? The filter may be ruined at the end of the shoot, but it could be worthwhile for a production of this sort.

While obviously I'm not a lawyer, I have had a law class which clarified these types of issues a little bit. In short, in the United States, if you are considered the photographer (and actively shot this footage), the rights to the footage automatically default to you as "the creator." Now, generally, this right is waived through the process of "working-for-hire," meaning an exchange for your creative output --i.e. the footage in this case. So, in this particular instance, if you did not receive some sort of fee, exchange, etc for the shoot, you are in complete control of footage. Good luck.

How often do you do it? As rarely as possible. Most modern lenses have a coating on the front element that could be damaged by repeated and/or improper cleaning. The first step, would be to use a blower bulb to remove any debris and see if that does the trick. Failing that, I usually use a camel hair brush that is reserved only for cleaning lenses and kept in a sheath of some sort. Unfortunately sometimes a lens needs a bit more work to get clean. In those instances I take a fresh lens tissue (Rosco, Kodak, etc. - I typical don't use KimWipes on lenses as they seem a bit too abrasive), roll it, and then rip it in half. Ripping the tissue in half softens the ends of the synthetic threads of the tissue, again making them less abrasive for the surface of the lens. Spray a small amount of Panchro on the split ends of the tissue. Start in the center of the lens and work outwards. It's important not to use too much fluid as this can seep through the sides of the element and eventually gunk up the insides of the lens. I find Panchro is usually the best to use instead of other lens fluids as it seems to clean up any smearing much quicker, resulting in a lot fewer headaches.

AC, May 2006 (Mission Impossible III on the cover) in the "Points East" section. The article stated the DP, Michael Simmonds, pushed for HD over MiniDV, and was able to get it on the condition that his lighting budget was slashed/became non-existent. Simmonds shot with an F900 and essentially brought his lighting package in the trunk of car (china balls, small fresnels, plus a mini flo kit for inside the cart).

Unfortunately, there doesn't seem to be an adapter available to convert an Aaton mount camera body to a PL mount (due to the flange focal distance). To quote Mitch Gross from the linked thread below: "The Aaton mount works just fine and has no issues holding depth if well maintained. The mount can use adapters to work use Arri bayonet, Arri standard, Nikon F, Leica and a few other still lens mounts. In order to mount Arri PL (positive lock) mount lenses, the Aaton mount has to be removed and a complete PL mount attached to the front housing in its place. If the camera has never had a PL mount on it before, then it means dismantling the camera to drill new threaded holes in the front housing. PL mounts are generally not rental items, instead requiring a purchase in the neighborhood of US$1200. In addition to the cost of modifying the camera, every time a mount (Aaton or PL) is attached to a camera it must be aligned and shimmed for proper centering and depth. This is a one or two hour minimum labor charge. Once a mount is on there is no way to switch mounts in the field as the centering and depth would not be accurate. So you will have to use all PL mount lenses for the body of your shoot. It may be less expensive to either (a) rent a PL mount camera body for the shoot and use your accessories (make sure they work with the new camera) or (cool.gif see if the rental company can provide the lenses in a mount that is compatible with you camera. If you ever get outside lenses for your own camera, you really should bring the camera in at the time of rental to make sure that the mount depth is set correctly and that the lenses are therefore mounting properly." http://www.cinematography.com/forum2004/in...showtopic=25257

The software that you are looking for would be "Nikon Capture." More info here: Nikon Capture 4 If I recall, the software is around $100, but also gives you a limited free trial to see if you like it. Basically it's a remote camera control (via computer), with added intervalometer controls. Works great with a D70....may need a software update or something to be compatible with newer cameras such as a D80. One issue, however, is it eats up your camera battery. I'd have a few extra on standby, or look to have a power source handy.

You may be thinking about this Briese-light topic: http://www.cinematography.com/forum2004/in...hl=Briese+Light

Will snagging a screen capture directly from the DVD work? I know the regular screen capture function is disabled in DVD playback on Macs, but if you download the Capture widget at - Capture Widget - Apple.com -you should be able to open dashboard, click on it and capture a paused DVD image (circumventing the disabled screen capture issue). Anyways, might be easier/quicker. I believe I may have learned this trick from a David Mullen post--One of the many posts full of helpful information he's provided on this site.

Not sure with Toast specifically, but I do know Macs generally are friendlier with DVD-R's rather than DVD+R's. I'm guessing Toast would be consistent with that.

Cheaper solution: (at least for a pure night/tungsten balanced stock), Go to your local auto parts store, get a power inverter ($30.00-$50.00) with a 12volt plug ---This enables you to run a male A/C plug off of your car battery. Buy a string of white Christmas lights ($5.00) (& maybe a dimmer if you want to control the output of the lights).

You could line the car windows with ND gel to bring the stop difference down. Also, as for which Kino's, a Mini-Flo Kit has a DC Car Adapter (i.e. You can run them out of your cigarette lighter). For color balance, Kino tubes can come balanced for either daylight or tungsten. Good luck