Josh Pickering

What cases are you guys and girls using these days for your Alexa Mini? I don't want to break the camera down much to pack away. And would like the case to fit in an overhead bin on airplanes. Never been found of laser cut cases either. Thanks.

Thanks for the reply guys. I feel better reading your comments. I agree that it can possibly speed things up, but also can slow other areas down, and I don't want to compromise a crappy composition on Bcam just because the producers want to move. I made the decision early this week to shoot 1 camera body. Budget constraints were a part of this decision but at the end of the day, I am 100% confident to pull off the picture with 1 camera body.

Just want to get some different explanations on shooting 2 cams or 1. I know there are some pros to shoot 2 cams, especially when shooting 20 day features with a lot of locations. What cons have you come across, and when does it absolutely pertain to shooting 2 cams vs. 1? Josh

I can't seem to upload them. Stand by.

Hi Stephen, We had the actor standing about 25 ft in front of the 20x40 greenscreen. She wasn't standing on any green, which made it difficult sometimes for wide shots. We had to go very low to get the "ankles" up shot we wanted. I am attaching pictures now. These are just jpg's that have been compressed, but nothing treated. I had 2 6K spacelights lighting the GS. They were wrapped with 1/4 CTB. I had 1 2K Mickey on each backside of her for an edge, 3/4's off back to be exact. I keyed her with a 10K Tenor through an 8x8 bleached muslin. No CTB on the 10K. Then for fill I used a Kino Diva 400 which was dimmed quite a bit, and it was full tungsten 32 bulbs.

Maybe this is a stupid question...From what I'm reading am I to CTB the lights only hitting the green screen? And the subject? I feel it's for the greenscreen only, but just making sure if I need to keep the light consistent through the shot. Thanks!

Stephen, Thanks for your reply. From what I understand, shooting 5:1 compression vs 3:1 compression has a minimal difference. I agree with shooting 640 ISO. We have 1 day prep before and will test out a few settings/lighting and will also test your recommendation. Thanks again. Shoot on!

First off, the actor will be about 25- 30ft off the screen. The GS will be 20x40 and lit with 6K space lights. No green on the floor she will be standing on. I've heard a lot of posts on sites around the web that if shooting indoor green screen on the Epic, to use daylight sources or use an 80C filter. Has anybody had any experience with this? I've just always shot tungsten lights on GS, black shade the Epic before the shoot, and white balance. My second question is: what is the best compression ratio to shoot green screen on the epic? Best Shutter, ISO, etc... Any help is greatly appreciated.

the camera is an Arri 535B. I have done some 16mm and arm familiar with the sound of film not being fed right, etc. I was honest with the DP when I talked to him today and he didn't seem to care. But you never know. I'd really like to jump in, but then again, it's a new breed for me. I look at it as a new camera I'm just learning. I don't know if that's the way to look at it, but that's how I feel. Hopefully there will be a few days before. Again, focus pulling, filter changes, marks, etc... I can handle. But you're right when you say "I would have to solve a problem 30 seconds ago", and if I didn't know how to do it, then what do you do. Thanks for the replys guys.

Hello all, I've recently been offered an opportunity on a low budget feature to 1st AC. It's 35mm and I've ACed RED and high end video projects, but never 35mm. I told the guy that I would check my schedule and get back with him. I mostly DP and camera for low budget projects. Anyways, how much different is it to AC 35 vs. RED? I am very familiar with a range of prime lenses, changing filters, putting together cameras, focus pulling, etc., but will I need to change magazines as well? Again, never worked in 35mm. I know 100% I can pull focus and turn the camera on. :lol: Thanks.

Xax, Can you explain some of the lighting setup on these pictures? Especially the stuff in the hotel room. I love knowing how different people light interiors. What kind of gear did you have at your disposal? These look amazing.

Hi all, Question, Shooting a short soon and for some of the scenes we will not have a generator, but will have a 5K light. My question is how do you tie into a breaker box to get the necessary output to power the 5K? We are trying to get a grip/electrician out to do this safely, but not sure if that will happen. Is it too difficult and dangerous? I know a little about electricity and have knowledge, but have never done this before and want to be safe about it. Thanks all.

re-posted bigger. Sorry about that.

A few more screenshots.

yeah, it was a little bit of a challenge, but the camera did great! Great in low light situations, although I tried to keep the ISO around 250-320 during daytime interior shots and at night HAD to push to 800 minimum alot of the time. The ziess primes I was using had a 1.4 opening so that helped alot. All in all, pretty happy with the result, although would love to have it shoot 24p. thanks for the replys. The stairwell shot was tricky, since it was so dark and we needed a wide shot. Christmas lights were put on the poster behind them at the top of the stairs. A china ball was hung just in front of them, above them just out of frame with a 100 watt photoflood. The rim light was achieved by having bead board directy overhead them with an Arri 650 bouncing.