don lee

Thats really curious. We have two C300's that have had heavy use with internal batts, externals batts and power supplies and have never had that issue. Do you keep the SD card with the settings in the camera? Maybe ours are reloading the data and we dont know it.

Has anyone figured out how to monitor the low res output of a video from a video camera (EX-3,EX1r or XDHD700) with a Iphone or Droid? Bluetooth? Maybe HDMI to micro HDMI? thanks

Lookiing for advice: trying to create an effect of flickering light shooting with a hand held camera and a small battery powered light, like the flicker you get when you shoot in a 50 cycle country with a NTSC camera. Is it possible to make a 100 watt 12 volt fresnel flicked? is there a really small strobe light out there that can be rigged for battery use ( ithink strobes have a dc ballast, yes?) the camera has a variable shutter but its always going to sync with the light I think. thanks for any ideas

Thanks for the replies...i know the older cameras were rated at 200o lux at f8, and then newer ones like the Sony 600 were bumped up to 2000 lux at f.11 but i never knew how to translate that into an ASA....

I have always figured my Beta sp camera to have an effective ASA of @250 (at zero gain). Has anyone calculated the ASA for the Sony Z-1 or the Canon HD DV cams? It feels like ASA 250 but I would appreciate the formula...thanks

[Are you Sheila in Washington DC ? And do you really have a 9.5 - 57 for sale for $135 ? I am doing some 16mm and would love to have that lens if you havent sold it...Don Lee name=Sheila Smith' date='Feb 14 2007, 09:59 AM' post='154935] For Sale: Aaton LTR 54 Super 16 Cineasst video tap 2 mags 2 batteries and charger matte box rods and matte box (Petroff) pistol grip barney changing bag $10,000 Zeiss10-100mm 1.8 (great lense) $4,500 Angeniux 9.5-57mm 1.6 lense $150 (sharp) Kinoptik 5.7mm 2.3 $1500

I do a fair bit of travelling and I always carry a bunch of voltage converters (India is British two-prong) but that may not help in this case. You cant travel with a generator unless you plan on leaving it behind, airlines wont let you ship used generators. Your best bet is to find a good solar panel charging sytem, and make yourself a dummy battery that will run on 9 volts or AA's , which are available anywhere. It wont last long, but can save you in a pinch. Also make sure you charger will "hunt" for the correct voltage, generally all the units supplied with the camera will work but not all aftermarket units will. good luck name='Kevin Hansen' date='Feb 13 2007, 08:28 PM' post='154843'] We're going to video in India this fall, and after our scouting trip I'm very concerned about being able to recharge batteries (Canon XL2's) in the field. Some places we'll be have absolutely no conventional electrical power supplies. Can anyone recommend brands/devices they have used reliably, like a set of power converting transformers? A micro-size gasoline generator? A voltage regulator? Thanks in advance!

I went thru the same issue and couldnt find one for my wide angle. I ended up buying a Wide angle adaptor and a square shade from Century Precision Optics that takes sqaure slide in filters so you can use grads. The wide angle adaptor is way, way better than the Sony so it all worked out, but was kinda pricey.

[thanks for that also, I had a brain freeze earlier, the brave guys who were killed were Cameraman Paul Douglas and Soundman James Brolan of CBS News London Bureau, their families are the ones who deserve our prayers and thanks... e name=Jason Reimer' date='Feb 4 2007, 02:35 PM' post='152626] Thanks for your input Don, and thanks for the job you have been doing. It's good to hear from someone who has actually been there and done that. I'll keep your safety over there in my prayers.

As I mentioned earlier I have been to Iraq recently and have covered a lot of confilcts in the past. this one is totally different. Usually you have a choice of working independantly or with the military, and yes, I think embedding is a bad deal for us and a good deal for them, but thats the only way to speak with US or UK troops. Now in Iraq, if you get out of the car to film in a market you will be shot in the head by the first person with a gun who happens by, I would say your life expectancy is about two minutes right now in Baghdad. In fact, the reason I was sent there was to replace a camera crew (Doug and Sean) who were killed last Memorial Day, while filming a checkpoint 1/2 mile from the Green zone, with the US military. I am not going to post the details of our current security arrangments, but trust me, they dont allow for a lot room for creative filmmaking when we do get out of the car. Its nice to discuss objectivity, but the reality is you either embedd with the military or you are so restricted you cant work. The Iraqis on the street won't talk to you, they will be killed if their face shows up on American TV, and its not like you can go down to the pub and talk to the troops in their off hours. Politics aside, its a new day over there and dosent look to me like its going to get any better soon. I guess the reason I am posting this is because I am a bit defensive about critizism of the work thats being done by the guys over there now. There are a lot of very hard working people risking thier lives to tell the story in very tough conditions, and I am sure the military, and the administration would rather we just see hand out footage shot by their PR folks. > there areae

interesting discussion but... i have been to iraq twice recently for CBS, once during the invasion and again last july for a month. i wanted to bring my 16mm but there is NO WAY to transport film into the area, and more importanlty, out once its exposed. -Kodak recomended bringing a changing bag to the airport, and TSA laughed at the idea of one their folks putting thier hand in a bag, this might work in the US, but no way overseas.. -The military doenst allow film cameras on thier operations, all still cameras have to be digi so they can delete the images on the spot, this would probally apply to 16mm as wel. -Airport customs in Jordon took three hours and involved 5 diffewrent x-rays, if the film wasnt manually exposed it would have been flashed for sure. I am sad to say I was right not to bring it, because it would have been really horrible to get some great stuff down on film and watch it being ruined in Customs. Also, given the danger invloved in filming the military ops, 16mm takes too much attention, you really need use somehting you dont have to think about, which is why I use either a Sony XD cam or a Pd 150.

thanks for that I tried locking down the adaptor and that didnt help so it must need collimation. By the way, I bought this lens for Cine Vision NY, someone was askng about them, and i gotta say they werent much help when i went back at them for answers.

I own a GSMO and like it a lot but I havent figured out how to deal with the issue of syncing to sound. Specifically, you can't plug a Tobin into it, so you cant slow it down to 23.975 and I end up slowing the audio down to match the tape transfer. I am missing something here? thanks

Looking for some help in using a Cooke 9m Arri mount (older style without the ridges running down the sides) on a Cinema Products GSMO. It fits the adapptor I have, which is a CP to Arri (with the grooves running down the inside) but is not in focus. It seems like I need an adaptor that is more shallow to bring the lens closer to the film plane but am not sure what that would be. By the way, I love my GSMO and have run a lot of nice film through it. Thanks