Jump to content

Marque DeWinter

Premium Member
 View Profile  See their activity

  • Posts

    121

  • Joined

  • Last visited

 Content Type 

Posts posted by Marque DeWinter

    Grip's impression of the Red one.

    in Red

    Posted

    I think fully loaded you are somewhere is the 45lb range. We had the reddrive on the back, with batteries mounted as if it were a Mag. The top and bottom rails, matte box LCD, 18-50 lens, ff nobs.

     

    It was pretty close to a f900 fully loaded.

     

    I think this thing might be more dense than the 235. It has been over a year since I worked with the 235 but the naked body is comparable to a Panavision platinum naked.

     

    I think the dp said the bodie was 28lbs of love. We didnt put a handheld rig on the camera so...

     

    I think If I were to buy one ( as if I wouldnt try to use it as a hammer... grip joke...) I would have gotten Carbon fiber rails.

     

    I might look into them as a gift. Are the rails 18mm or 15mm?

     

    The standard rails are 19mm but you can use 15mm rails with the camera (depends on which baseplate you get).

    The camera isn't even close to being as heavy as the CineAlta. My red with the ET arri style baseplate, two top mounts, top handle, battery, CF module, red cradle, 18" steel rails on bottom, and 6" CF rails on top weighs just over 16lbs (I just put it on the scale)...Mind you that doesn't include the FF4, the MB20 or the glass (the glass make a huge difference).

     

    As a general note I have an OConnor 1030HD which handles it no problem. BUT on my Cartoni Focus with a Cooke 18-100mm zoom its at the top end of the range for the head (the sticks are the T622/2C which candle close to 100lbs.).

     

    ~Marque

    denecke tc-3 time code slate

    in Camera Assistant / DIT & Gear

    Posted

    If I had any advice on the topic it would be to STAY AWAY from transmitting timecode. Jamming is much easier, and it will save you a LOT of 9 volt batteries and negative feedback from the annoyed dailies guy. The receivers eat through batteries like nuts, and I'd commend you if you can make it through a show without more than 20 or so timecode hiccups along the way (mostly caused by batteries suddenly dying, but also losing line of sight with the transmitter).

     

    If absolutely required I'll use my Comtek system and switch on setup to a different channel. After the more than a decade as a sound mixer though...I've only had to do this maybe 5 times at most outside of Playback operations for music videos. When shoot a video its very common since you'll start the track in a variety of different places and you just can't resync the slate before every take. A PR216/M216 setup will usually run for at least 6 hours on a set of batteries (I've had them run for days even) so the batteries really aren't the issue. The concern is that there can be a delay in the transmission, interference, etc.

     

    ~Marque

    Studio Rate Card

    in Business Practices & Producing

    Posted

    Could someone please post the current major studio rate card. Looking for 2nd AC/Loader for film budget $15 million + shooting in the central region. The last card I had was good until 12/9/04 and only covered the NE Corridor. If you won't feel comfortable posting please PM me, I won't share if your request it.

     

    Thanx,

    MD

    Hands On Red In NYC - Any Interest?

    in Red

    Posted

    Barnstormer Films is interested in finding out if anyone is interested in a hands on demonstration/small try it out session with their Red camera. Date would most likely be late January/Early February. If your interested please email them your name and email. Production@barnstormerfilms.com

     

    Thanx,

    Marque

    Loan for HVX200

    in Students, New Filmmakers, Film Schools and Programs

    Posted

    As someone who rents out HVXs....the market is flooded. Currently for just the HVX with 2 8GB P2 cards (even if you have 16GB cards you NEED 2) we get $200/day including a good tripod. So camera, sticks, cards your looking closer to $10k which is 50 days to pay it off...typically most rentals items ROI is 30 days. And if you need a rental in NY give us a call 1-800-379-0442

     

    ~Marque

    Cold Calls

    in Business Practices & Producing

    Posted

    I'm in EXACTLY the same position....but a few months ahead of you. After spending over 10 years doing sound work (which is never what I wanted to do) I've been moving to try and do "A" level camera dept. work. I've worked on a lot of video (including major television that was video) doing camera work but nothing that was ever film. I started PAing from 1 contact and worked on a number of different union level "A" jobs as a PA. Sadly PAs don't make even close to what mixers make so its been tough. I did get bumped from a PA to Camera PA and the production bumped my rate to AC rate on my last job (which sadly was only 3 days). Its tough though. I've got the days to join local 600 but not the contacts. So I'm cold calling.... everybody. I figure eventually maybe somebody will say yes. If 10 years on set experience isn't enough then I'll start over and work another 10 years to make it to a loader and 2nd AC if I have to. In the end I figure I better do it now while I'm still young enough to bust my @ss carrying mags for miles and miles...

     

    ~Marque

     

    PS: Anyone need a camera PA or loader?

    Panaflex 35mm Mag Loading

    in Students, New Filmmakers, Film Schools and Programs

    Posted

    Maybe this is just me wanting to be a perfectionist but... I've never gotten a chance to load any of the panavision mags. I can handle just about anything by Arri but I haven't worked on many pana jobs so it just hasn't happened. I'm also not known enough at Panavision to walk in yet...a few check outs etc.

     

    Anyone have suggestions on how to get a mag just to practice with?

     

    Thanx,

    marque

×
×
  • Create New...