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Daniel Katz

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About Daniel Katz

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  • Occupation
    Cinematographer
  • Location
    New York

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  1. Hot Gears Complete: Remote System for Arrihead, Panahead and Lambda Head. PRICE: $8,900 (Retail price new is $36,000) Located in NY, can be physically picked up from NY. Will ship worldwide. Will accept PayPal or Wire. Buyer Pays for delivery charges if not picked up personally. System is in excellent condition and has recently been serviced and updated with a brand new Logic Board and Limo connectors + firmware update. Also comes with complete set of cables and rolling pelican cases. Single-owner package – not from rental stock. Package: - Hot Gears Console - Hot Gears Signal Box - Hot Gears Signal Box Bracket - Hot Gears Arri Pan Motor - (2) Arri Bushings for Arrihead Wheels/Gear Head - Hot Gears Panavision Pan Motor - Hot Gears Panavision Tilt Motor - (2) Panavision Bushings for Panavision Wheels/Gear Head - (2) Hot Gears Motor Clamp Levers (back-up) - Hot Gears Underslung Cage - Hot Gears 100’ Cable Yellow with BNC - Hot Gears 50’ Cable Black with BNC - PV Millenium/XL Power On/Off cable - PV Gold/Platinum Power On/Off cable - (2) Panavision Battery to Controller Cable - 12V DC monitor Power cable yellow - 12V DC monitor power cable black - Moviecam 24V Power On/Off - Arri 435/535/SrIII 24V camera Power On/ Off Cable - Arri III 12V Camera Power On/Off Cable - AC/DC converter - Set of see-through bags for cable kits Please contact Daniel Katz at enfantterriblefilms@gmail.com (917) 971-0958
  2. Hot Gears Complete: Remote System for Arrihead, Panahead and Lambda Head. PRICE: $9,750 Located in NY, can be physically picked up from NY or LA. Will accept PayPal or Wire. Buyer Pays for delivery charges if not picked up personally. System is in excellent condition and has recently been serviced and updated with a brand new Logic Board and Limo connectors + firmware update. Also comes with complete set of cables and rolling pelican cases. Single-owner package – not from rental stock. Package: - Hot Gears Console - Hot Gears Signal Box - Hot Gears Signal Box Bracket - Hot Gears Arri Pan Motor - (2) Arri Bushings for Arrihead Wheels/Gear Head - Hot Gears Panavision Pan Motor - Hot Gears Panavision Tilt Motor - (2) Panavision Bushings for Panavision Wheels/Gear Head - (2) Hot Gears Motor Clamp Levers (back-up) - Hot Gears Underslung Cage - Hot Gears 100’ Cable Yellow with BNC - Hot Gears 50’ Cable Black with BNC - PV Millenium/XL Power On/Off cable - PV Gold/Platinum Power On/Off cable - (2) Panavision Battery to Controller Cable - 12V DC monitor Power cable yellow - 12V DC monitor power cable black - Moviecam 24V Power On/Off - Arri 435/535/SrIII 24V camera Power On/ Off Cable - Arri III 12V Camera Power On/Off Cable - AC/DC converter - Set of see-through bags for cable kits Please contact Daniel Katz at enfantterriblefilms@gmail.com (917) 971-0958
  3. Hot Gears Complete Set: Remote System for Arrihead, Panahead and Lambda Head. PRICE: $10,500 Located in NY, can picked up from NY or LA. Will accept PayPal or Wire. Buyer Pays for delivery charges if not picked up personally. System is in excellent condition and has recently been serviced and updated with a brand new Logic Board and Limo connectors + firmware update. Also comes with complete set of cables and rolling pelican cases. Single-owner package – not from rental stock. Package: - Hot Gears Console - Hot Gears Signal Box - Hot Gears Signal Box Bracket - Hot Gears Arri Pan Motor - (2) Arri Bushings for Arrihead Wheels/Gear Head - Hot Gears Panavision Pan Motor - Hot Gears Panavision Tilt Motor - (2) Panavision Bushings for Panavision Wheels/Gear Head - (2) Hot Gears Motor Clamp Levers (back-up) - Hot Gears Underslung Cage - Hot Gears 100’ Cable Yellow with BNC - Hot Gears 50’ Cable Black with BNC - PV Millenium/XL Power On/Off cable - PV Gold/Platinum Power On/Off cable - (2) Panavision Battery to Controller Cable - 12V DC monitor Power cable yellow - 12V DC monitor power cable black - Moviecam 24V Power On/Off - Arri 435/535/SrIII 24V camera Power On/ Off Cable - Arri III 12V Camera Power On/Off Cable - AC/DC converter - Set of see-through bags for cable kits Please contact Daniel Katz at - enfantterriblefilms@gmail.com (917) 971 0958
  4. Just curious if anyone has seen Gangster Squad; despite being rather rubbish, the motion rendering made the film almost unwatchable for me. I saw this in the trailer but assumed they had done a lot of speed blending for the trailer and it wouldn't actually look like that in the theater. I was hoping that the Alexa Studio would become the gold standard for digital capture, as it relates to filmic capture of movement (given the mechanical shutter). Dion Beebe is a superb cinematographer and I'm somewhat surprised that after testing etc that he thought the motion rendering in the final film is up to scratch. Any thoughts would be appreciated.
  5. Does anyone know where an Aerocrane Jib arm and a Giraffe crane can be rented in NYC? Thanks in advance
  6. I am shooting a short film relatively soon which necessitates lightning effects. Unfortunately Luminy's Lightning Strikes are not available for the shoot and my only real option are the Martin Atomic 3000 fixtures. The film is being shot with the Red One and my concern is for split frames during the lightning effects given that the Martins are pulsed fixtures unlike Lightning strikes. If anyone has experience with the Atomic 3000 series and the Red One or other problematic cmos sensor cameras, any tips on how to avoid or minimize this problem and what settings to use, would be greatly appreciated. Thanks in advance.
  7. For those of you who have experience shooting with the Primo Anamorphics; I'm looking to get some information on using Diopters with these lenses. Obviously one can't use 138mm Diopters because the front Element diameter is too big. What sizes and systems of Diopters do most people use when shooting with the Primo Anamorphics. Any info would be helpful. Thanks in advance
  8. Exactly what I was looking for. Thank you Matthew.
  9. Excuse me if this has been asked before. What is the best substance to dip photofloods with in order to warm them up? Obviously I can dim them but I am looking to also go more yellow, orange, red, depending. Thanks in advance.
  10. I am Gaffing a short film in a warehouse this Wednesday. There are just two actors facing each other, a la, any Spaghetti Western, they are roughly twenty feet apart. We are only really looking one way. Our lighting approach is essentially to build a makeshift toplight softbox consisting of sets of Par 64's spanning the distance of the two actors. We may add some extra par cans at each end over the actors. We are really just going to rig a skirt and then use one 12x12 rag of bleached Muslin and two 8x8 rags as the diff. The floor to the grid is eighteen feet. Most of the Pars are narrows and there are some mediums. We are shooting Red with Zeiss Standard Speeds and doing some squib gunfire stuff at 120fps at 2K. The Dp and I love using Mus to shoot through but I am a bit worried that due to its very low transmission quality that we may struggle with the 120fps stuff. We will have 25 Par 64's up top and a narrow spot (1000 FFP Q1000 PAR64/2 ) from 18 feet would give me about 800 footcandles before the Muslin goes in. Normally I would go with light grid for something like this but the DP is very keen on the Muslin. Does anyone have any insights into roughly how many footcandles i'm going to lose once the Muslin goes in. Thanks in advance.
  11. Both Reservoir Dogs and Pulp Fiction were shot almost exclusively with 50D and from memory of when I saw them projected were very saturated and contrasty given Sekula's penchant for using open source lights near to his subjects. Its kind of hard to compare contrast and saturation from these two films but I doubt Inglorious was inherently more 'contrasty'. It certainly has a vastly different look and feel stylistically though.
  12. Sorry not sure what happened there. I saw this opening day ( that is my new tactic for seeing films of this nature, go to the earliest possible show available, which was 1135 am, or wait a month, I live in NY and behavior in cinemas has reached its nadir.) In this case I was richly rewarded, the print on show felt like it was dripping from the lab, it really felt like a show print, contact print. The quality of an anamorphic originated film with the combination of a great print, and a well maintained projector is a wonderful thing to behold. I don't love all of Richardson's work but 'Inglorious' is outstanding from start to finish. His toppy hotspots really worked with this material. I'm wondering has anyone worked with him or his Gaffer and would know what fixtures he prefers for this signature look. I would think that joker bugs would be the obvious tool but he seems to get a really elegant beam spread/ beam pattern that I find hard to get with Jokers. The opening scene and the scene with Michael Fassbender in the bar/tavern are the two stand out scenes in the film. Filmmaking master classes in tension building through subtle dialogue, body language and reactions. What is amazing and really struck me more than usual is the huge discrepancy between the marketing of this film and the film itself. The trailers painted this as an almost slapstick ,kitsch, ultraviolent, adventure romp. And while individually each one of those descriptions can apply it is certainly a for more mature, slow-burning, lusciously crafted, adult experience. I am fully aware that distributors/marketing departments almost exclusively try and sell everything to the video game, ADD, fanboy, pubescent demographic. And Tarantino certainly channels all of these things in his own persona. But i feel the film was grossly misrepresented in the teasers and trailers to the point where I was really put off seeing the film at all. I think a film needs to at least be tonally represented in its trailer.
  13. I read in Screen International that Christopher Nolan's latest collaboration with Wally Pfister, ( Inception ) has begun principal photography. Does anyone have an idea what format or formats they are shooting. I heard a rumor that this could be shot entirely in 65mm?
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