Jonathan Bowerbank

The Steady Stick can be quite handy. I know a couple of documentary videographers who swear by it. http://www.bhphotovi...eady_Stick.html Actually, for the EX3, you'd want this one: http://www.bhphotovideo.com/c/product/210200-REG/Davis_Sanford_SS3C_Steady_Stick_Compact.html

Right, that's what I'm saying. Just from the way others are talking about the 5D vs. 7D, it's as if they're saying a 50mm on the 5D has less depth of field than the exact same lens on a 7D, which can't be the case. I was just making sure I'm not going crazy when I tell an incredulous soul that the depth of field calculations are the same, it's the FoV that's the only obvious difference. It's like shooting with the Red, when you go from 4K to 2K while using the same lenses. Your field of view changes, but DoF remains the same. However, yes, the circle of confusion really has become more critical due to what can be perceived as "in focus" at a lower resolution. Thanks guys, it just all seemed weird. I'd read it mostly on those HD prosumer magazines and websites, which are rarely accurate or trusted, IMO

So, being a student of film, lenses, optics, etc. Logic tells me "A 50mm, is a 50mm, is a 50mm." Right? But what's all this talk about the 5D having a much more shallow DoF than the 7D or T2i? They use the same lenses, are set at the same flange focal distance, the only difference being the size of the sensor...which has nothing to do with DoF (despite what some misinformed people may believe). I'm guessing this comes up because to achieve a 50mm's field of view, one would have to throw on a focal length close to 30mm, thus increasing your depth of field...which would make sense to me that people would mistakenly make these claims. I'm mostly curious what people here think. Please chime in :)

Found this copy of "Professional Cameraman's Handbook" on eBay for anyone who doesn't already have it. It's pretty hard to come by nowadays: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...ME:B:SS:US:1123

Depends on your background and how much you want to balance the brightness of what's outside with your actors' faces. A 1k with CTB will buy you some exposure, but only for CU's, pretty much. If you're fine with them appearing to be in a shaded environment, with an incredibly bright exterior behind them, then shape the light on their faces as best you can with the 1k & bounce, reflectors, etc, and shoot away :)

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...e=STRK:MEWAX:IT Just found the old timey engineering astounding. And check out that threading system! 35mm MOVIE CAMERA ANDRÉ DEBRIE PARVO MODEL L N° 6922 COMPLETE SET INCLUDING 1 LENS CARL ZEISS JENA TESSAR 3.5cm/3.5 AND ITS BELLOWS COMPENDIUM HOOD SHADE 1 ORIGINAL CRANK 2 MAGAZINES OF 120m. (400Ft.) 1 VIEWFINDER ORIGINAL CASE FOR TRANSPORTATION + ITS ORIGINAL STAND WITH 2 CRANKS

YOU mean 7D, ha ha On paper, they're identical, except the T2i only has one processor, it's a slightly smaller body and the incremental ISO settings are more spread apart. Shoots to SDHC cards too, which is very nice :)

I've been using Disk Utility to create DMG's ever since a P2 data wrangler gig I had about a year ago, where the post prod supervisor explained to me why he preferred this method. I have to say it made complete sense, in comparison with trusting finder to copy over each and every file identically. I've never heard a peep from any shoots since then about my methods, so I assume it's actually preferred by most people who work in post.

Should be able to do it with a simple shutter adjustment, 144º is the magic number :)

The full ad is in my original post, as it was written :)

There's also a huge kit fee for "SORTKWIK" finger moistener and a rubber finger tip for shuffling through them. Also, if they want Aatoncode punched into each frame, that's an extra thou ;)

Came across this one today. Says they're shooting on 35mm, and yet they need a Data tech? Nevermind its copy/credit/meal status :) http://sfbay.craigslist.org/sby/cwg/1612014409.html Title: "GOZA" Genre: HORROR Shot on: 35mm We have the following open positions: 2 P.A Position Boom Operator Key Grip 4 Grips 2 Best boy 1 Data Transfer Assistant Please reply via ***********@gmail.com Compensation: Credit Copy/Reel Food Gas

Yeah, the hot top light is definitely his signature. He took it to nuclear even, in some scenes from "Bringing out the Dead"

Jeez Adrian, keep it down! he he They called one very experienced AC friend of mine and said it was full rate. They then called another friend of mine and told him it was half that...shady indeed.

It was present when you reviewed the footage as well though?

Was it just in the viewfinder or in all the monitors as well? Was it still there when you transferred the footage and reviewed it? I've seen something similar to this before, and it turned out to be a bad connection with the camera to viewfinder. Had to rig the cable with a certain amount of tension against the body to remedy it before we got a replacement.

But the creator and guy who demos it is HILARIOUS "You can do 5 moves in one! It's more better!"

I know this Craigslist ad. I sent them an email, and since then they've been circling around with all my AC friends who have been referring them directly back to me. We'll see if I get a call.

Brilliant Even with a laser pen you would still need to have it rigged on a string/rope as a pendulum. That way if the camera tilts, the lens is still pointed straight down, rather than moving with the tilt.

Awesome.

It's corporate run and not an "open forum", I assume anything that may effect sales negatively is not allowed.

I still swear by my Sony 34" CRT HDTV. Gorgeous picture, better than anything else out there. True blacks, crisp image, and all the reliability of a tube I live in a small 1BR apartment, so it's the perfect screen size, but if they made a 50" CRT (NOT rear projection), I'd go for it, I don't care how much it weighs :)

Option #1: Do it in post, with the RED it's always iffy to stray away from its native color balance. So any special tweaks you wanna make would be safer to do in post. Option #2: In Camera, in the Video menu, go to Gain and play around with the Red, Blue & Green gain levels. I've toned down the blue levels this way before in late afternoons when most the light source is coming from the blue sky, but I can't say whether that makes a difference in the noise/grain.

It even happens with bigger well known production companies too. I guess when The Orphanage effects house shut down, they still owed a lot of crew a healthy sum. I'm pretty sure it's been resolved now, but everyone was hearing about it when it happened. Is there simply no answer when you call the prod. company? Could be they shut down and shipped out right after shooting, and you'll have to pursue it legally.

You're sayin' Mr. Cruise was hittin' the crack pipe? (cuffs Tom Cruise)