Simon Miya

There is your problem.

MacBook Pro.

I second everything that Mike said, and want to re-emphasize something he said throughout: it depends. It depends who you are working with as far as what they expect, it depends what inventory sheets you are using (I've seen the totals done different ways on different sheets, but it is usually the way Mike said), many things in this business depend on other factors. One of the most important things as you are getting started in the camera department is to stay flexible and think on your feet.

http://www.cinematography.com/forum2004/in...hp?showforum=69

Nebtek has it all - the monitor, the arm, and they can make any cable you need.

http://www.nebtek.com/

Unless the operator waits until the AD yells rolling to request the change, then nobody will be waiting. An on-top-of-it camera crew can change heads faster than hair/makeup does their final touches - especially if they know ahead of time that it is a possibility. Wait and see what happens when the operator blows a camera move on an otherwise printable take and everybody has to do it all over again - I wager the overall delay will be much greater, and I know the expense will be. The expense of changing heads (free) is far cheaper than that of a blown take on film. The bottom line is to use the right head for the shot. An O'Connor 2575 is still smooth with weight, if it is not then adjust the fluid drag and counterbalance. I still haven't read a good reason to not change heads for this shot. A slow camera crew would not be a good reason, especially when that concern is voiced before they are even hired.

As far as changing heads back and forth, that's what assistants are for (take it from one - we don't mind, it's our job). Don't compromise any takes because you want more practice on the wheels - if you mess up the one take that an actor or the director loves, it won't be worth it. ;)

Is there a reason not to just switch to a fluid head? What is the rest of the shot? I see operators switch to fluid heads all the time for just this reason. Don't make it more complicated than it has to be. Unless there is a good reason not to, just switch. That's why the package has two heads, after all.

In my terminology, a Camera Tech is a job classification with pay being slightly higher than a 1st AC. A Camera Prep is an activity done before a gig, lasting a day or more.

I have to agree with Nate. Most of all, it sounds like you need a good production designer.

It's already in the best archive format right now. Film, when properly stored, will outlast any digital format.

Blow it out with canned/compressed air.

They are certainly accurate enough to decide whether a short end is long enough to keep or not. Wait until you get the report to decide the precise length of the short end - put the canned SE aside with all the other information filled out, including which roll it came from (ie "A23 SE"), and then finish the label as soon as you get your hands on the report. I've always found them pretty accurate, but I still cross check them against the reports before deciding on a final number for the SE length. This accuracy varies from mag to mag, and it's always a good idea to cover your ass. ;)

You need an external speed control. Cinematography Electronics makes good ones. I have one you can rent if you are in Utah. ;)

I'm very surprised that the Hollywood Handle is not a standard part of any Panavision package - I consider it absolutely essential, but it is an extra-cost item. It wouldn't have done any good in this situation, however, with the mag backloaded. :(

The LT is a great camera in just about any situation (certainly my current favorite), but in studio mode is is very nice to be able to put the mag on the top - it gives the operator much more freedom of movement behind the camera. Really, though, that is the only advantage I've found that the ST has over the LT. I've not noticed much difference in noise level between the two on set (24 vs 20 dB according to Wikipedia, I'm not sure my ears are finely calibrated enough to be able to tell the difference).

I've used 16 gauge and 14 gauge 2 conductor cable from Home Depot and Lowes to make battery cables with very good results. The most important thing is the cable ends (Neutrik makes the best XLR connectors and they are inexpensive, unfortunately there aren't many options for Fi$cher connectors) and the soldering thereof. I use 16 gauge for the standard length cables, and step up to the 14 gauge for the long cables.

I should amend that to say that you might see the flash on film if you saw it in the viewfinder - there could be some overlap over the shutter boundary if the flash is timed just right. But that is far from a sure bet, and the only way to be certain is to keep shooting until you get a shot where you see no flash in the viewfinder.

If shooting on film with a reflex camera, remember this: if you see the flash (gunfire, strobe, or any other flash faster than 1/48th of a second) in the viewfinder, then you won't see it on the film. Keep shooting until you get a shot where you didn't see the flash in the viewfinder/video assist.

Will this still work if all the lights are running on the same circuit/genny? Doesn't the flicker have something to do with the line frequency?

Officially known as the "35-3"or "35 III".

Just call out marker. Identify which camera if it's a multiple camera shoot. Sound department will take care of their own ID before they call speed.

I second everything that David posted. In addition, I will add that no department is more exciting than camera. That excitement isn't always a good thing, however. :P As far as pay rate, I've found that as a 2nd my rate falls somewhere between the Gaffer and his best boy - often near the Gaffer's rate, from what I have been able to gather. The DP makes more than twice as much as I do. As far as the job experience goes, however, the DP draws more from his lighting knowledge than his camera knowledge. Some of my favorite DPs (to work with) came up through the electric ranks, and have little to no clue about cameras.

There is nothing "official", but many script supervisors have words they always use. Sometimes we have fun with it and try to use words that fit a theme relevant to the movie. B)