Simon Miya

I've found the Hot Gears system with the Lambda Head option to be incredibly reliable and easy to work with.

Did you read the rest of the thread before replying? Specifically, did you read the 4 posts immediately following the post you replied to? Your point has been already made and responded to. Honestly, it only takes a few seconds to change a head with a decent crew. Think ahead a bit (and possibly hire better assistants) and there will be no time lost. I just don't think this is a good reason to use the wrong head for the shot. If you really prefer the wheels for such a move then that is one thing, but it's a whole different story if you are not changing only because your assistants are too slow. I can't even count how many times we have changed heads repeatedly during a sequence. I've never seen it become an issue, time-wise. To each their own, sorry for beating a dead horse. Great job Glenn, btw.

The second grouping of films stocks in your post is mislabeled as Kodak when it should be Fuji.

Do you have any pictures of this in use? What type of magazines does it require? Is it compatible with/useful on an Arri 35-3?

Releases are a different story, however, I don't know much about them. Not being able to edit my posts is driving me crazy. I see a membership upgrade in my future.

You need permits during shooting, not during exhibition. I don't know if I caught your drift correctly, but you seem be confused on that point. Otherwise, listen to Bryan, he covered it well.

I have an Arri 4x4 mattebox available if you have trouble finding one for sale elsewhere. I haven't really put it up for sale yet so I don't have a price in mind, but PM if you are interested and we can talk. Cutting down the amount of incident light hitting the front lens element is important for getting the best image possible, even if there aren't flares apparent. Any unwanted light hitting your lens cuts down the contrast in your image - control over these elements is key.

...but honestly, the kind of productions that will be using a $17,000 camera will likely balk at hiring a loader and would assign the task to the 2nd AC (or a PA level crew member if the 2nd is too busy on set). I couldn't find you on IMDB, Lance, so I don't know what you do, but I've gathered from other posts of yours that are a producer of some sort (sorry if I am wrong). If that is true, and you are willing to spend so much to make your crew's job easier, then I applaud you and hope to work with you in the future. But producers like that are exceedingly rare, the ones I am used to are looking to cut costs anywhere they can. (I couldn't edit my post so added these thoughts here.)

I'm talking about the kind of productions that I work on. I don't work on "no budget" movies, so I can't speak to that point, but I do know that none of the productions I've worked on in the past decade would create a whole new department to copy ones and zeros from one medium to another. The "PA with a laptop" comment was merely echoing a previous poster. The job should be replacing the film loader, with comparable pay. If this task is more difficult than loading film magazines, then I doubt the camera has much chance of surviving in this industry. Two people for this job is overkill. No processing is involved, just copying. If you are doing anything more than copying from one disc (or card) to another on location, then you are just asking for problems. Anything more than copying should be done in a controlled post environment. This is not a hobby for me, it is my profession, and I am offended by your implication that I know nothing about movies with a budget. Look me up on IMDB if you doubt my experience.

Good call Andy. I think an error in telecine is the most likely explanation here, especially if there were not slates on every shot and detailed camera reports - very likely given the fact there was only one AC who was barely (or not at all) keeping his head above water with the reloading. Check the negative ASAP, and please report back. I'm very interested is finding out what went wrong.

Or a more video oriented forum altogether. Not trying to be rude, but I think you might get more useful responses on a DV forum than this one.

I'm sorry, I have to correct you. I don't think anyone would be able to tell the difference between the two types of sensor based on final output, all other factors being equal. All other factors are NEVER equal, however.

They are shooting on a soundstage with no permanent ceilings (or walls even). You have no chance of matching that on a practical location.

I'm sorry if I was not clear. My comment on a framing chart was not directed toward you, it is not relevant to your problem. It was in response to another poster's comments in this thread.

100% agree. There is no way a new department will be created for this purpose - I think you will be lucky to have even a "PA with a laptop" who is on the task full time - the responsibility will fall on the ACs, guaranteed.

As a full time working AC, I'd be very upset with that rental house for trying to take away my gigs by undercutting my rate.

That is interesting, I was thinking just yesterday about this subject. I can't think of a single project I've worked on in the past several years that wasn't protecting for multiple aspect ratios. Features frame for widescreen projection, but are cognizant of future fullscreen SD TV exhibition. TV projects are often still framed for SD fullscreen, yet protect for HD widescreen. You should have shot a framing chart and made sure the lab/telecine used it - that way you are telling them what framing you are using, rather than let them tell you, like it sounds like you did.

No longer made. Available occasionally on eBay - or I'll sell you mine if you offer me enough. ;) Spectra will still calibrate them - good thing since they go out of calibration if you look at them wrong.

Nobody said that. And nobody is going to say that any Panaflex is capable of shooting 300 fps, because they aren't. The high-speed capabilities of the Casio is the whole point of this thread, after all. I think someone missed the point.

This is the awards show for music videos, not the MTV movie awards. The technical categories are voted by music industry folks, not by viewers. The fact that they dropped this category actually really sucks, as it was the highest profile award that I know of for music video cinematography.

The push processing was used to make it possible to shoot with less light. That is what made it more natural.

Why can I not edit my posts? Rant continued: Once a department is chosen, people tend to stick to it - although I've seen more than a few instances of grips doing electric and vice versa. But most of those guys did a bit of PA work before choosing either of those departments. Starting at the top is a different story. There are those that try to be a DP without climbing the ranks. My rant does not apply to them, they are on their own. I don't agree with their career path, but it's their career and best of luck to them. :)

I disagree. 90% of the people I work with every day did some time as a PA. That's where you decide what department you want to be in. That's where you learn set etiquette. I know plenty of Keys and Bests who will not hire a 100% green crewperson - they insist on SOME set experience. I tend to agree with them. I hate trying to train a loader/2nd that has never been a PA, it greatly increases what you need to teach them before they are useful. I started as a PA, even though I have a film degree and have never had any desire to be an AD. Once you do climb all the way to the top, you will be a much more effective leader if you have a better idea what all your soldiers are going through in the trenches. There is no better way to learn what goes on on a set than being a PA. My opinion aside, the fact is that few people climb through the ranks of this business without PA experience or nepotism, although nepotism often gets you little more than your first PA gig. There are exceptions, to be sure, but I've found them to be rare.

Nothing rude here, I used the exact same emphasis you did. I'm just curious what else won't fit, I can only think of the follow focus. Focus markings are likely to not be as accurate on a still lens, but I believe everything else should fit just fine.

You do realize that zoom motors have no place on a prime? What is included in the "et cetera"?