Michael K Bergstrom

Gorilla Ratebook has the current rates for something like 81 unions. It's $30.

Battery is doing it's thing...

The batteries last just fine, little shorter run time, but not bad. You just keep spare batteries inside your jacket next to your body. I haven't really run into battery issues until around negative 20 degrees, at that point the LCD is more of a concern and you start getting the cold weather bags with heat pads.

I would make special skate things for a dolly. I don't know if you have the budget for a dolly or not. Pneumatic tires on the dolly should work nice on a rink. Depending on the speed I wouldn't put the grip on skates, but rather some nice boots with some yaktraxs. If you are under a tight budget, here's something I rigged up for a speedskating piece where we needed the camera low to the ice. I dished plexiglass with a heat gun to make mini saucer sleds to slide over the ice, it worked really well. After this photo, I added a longer cable for the camera and a t-bar for easier pushing.

4x4 frame with a maybe a flavor of CTB in it a little loose. Bounce a light off of it, and have a grip move the gel to create a rippling effect on the wall. There's also wave generators that use LED lights and mirrors that are really nice, i've gotten them from DJ and live venue houses in the past, you can dial in intensity and exact color as well.

Just wrapped a music video where our primary camera was a Sony FS100 with Nikon Primes. We rigged a Sony NEX 5n next to it with an adapter for the Nikon primes too. Side by side, and with no panning, most people would be hard pressed to tell the difference. Panning shows skew issues, but nothing that can't be worked around. I'll be using the 5n next week as a "director's viewfinder" for some pre-viz stuff, and we'll probably play around with some crazier rigging for it on the next gig. We had it inside at around 60 degrees for the first day with one overheating instance, but the next day we were shooting outside at negative 20, no overheating issue than. HA. I wouldn't trust it for any serious work, but it's an interesting piece of gear.

All the rags on my truck are stored individually in drawstrings bags. After they come back from a shoot I hang them fully spread out in the studio to make sure they are clean and completely dry before bagging them again. I do fold them, and for long storage I slip in a small silicon pack. 60% of my rags are 15 years old and still going strong.

Look at local theaters, and martial arts groups. I'm sure you can find someone in those groups that have stage combat experience. I wouldn't recommend doing your own choreography. For starters, if you have no training, you don't know how the moves are supposed to be executed in real life. I have found the best combination is a person with real martial arts training, and stage combat training. They'll be able to design and train the actors to deliver the moves without endangering themselves, or the people around them. Also, if you are directing, your mind will be in many places, focused on the acting performance, if the fight is not optimal it'll take your audience out of the moment.

I was directing a project where I choreographed a sword fight at the end, and due to me focused on the acting, the fight suffered. (keep in mind, I've studied and now teach European Martial Arts for 7 years, with a focus in blade work). It suffered enough that for the opening knife fight I brought in another instructor and had him do it, this sparked a combat expert to call me and offer to redo my final fight, which I had to do, with a great loss of time and money due to me wanting to cut corners and do it myself.

Call around, I'm sure you'll be surprised what you can drum up. Where are you located?

There are several local coffee shops around town where I'm at that have community rooms, sometimes free, sometimes $25 for 2 hour blocks. I like these places because their quiet, give a comfortable place for actors to sit, gives them the chance for coffee and snacks, etc. I used to use local theatres and art houses but kinda got screwed a couple times with them changing things on me last minute. The bar thing I've done but in my mind kind of sleazy.

Shoot in Alaska. Longest Golden Hour in the US in the summer and fall.

I have a pile of 16mm short ends and long that I'm trying to off load, I'll give you a screaming deal. These are what I have, I have some longer stuff too, in the 350' area, I can make a list. Just make an offer at this point via PM, I've kept what I've wanted. All as been kept cool, and well cared for. Most is left over stock from commercial shoots.

http://www.cinematography.com/index.php?showtopic=46441&st=0&p=324112entry324112

I have a Sony HCR-MRC1K kit (http://www.sony.co.uk/biz/product/hdvvtrs/hvr-mrc1k/technicalspecs) and 4 32gig CF Cards for sale. The cards are 233x RiData Lighting cards. . Email for more info.

HCR-MRC1K for $700 w/battery and cradle

Cards: $90 each for $300 together

$950 takes all.

Why not? Alaska's gorgeous right not as we move into summer. We've also doubled the number of features and shows here in the last couple months through the new film office. Frozen wasteland, ha! We also have beautiful temperate rain forest or wonderful coastal surf towns. Our biggest battle will be to combat the pre-conceived notions a lot of people have of Alaska.

100'-200' Short Ends:

Vision 200T/7274:

150' 11/2002 $27

138' 2004 $24.84

150' 02/2003 $27

100' 03/2004 $18

100' 10/2002 $18

EXR 50D/7245:

125' 08/09/2000 $22.50

110' 09/08/2001 $19.80

140' 06/20/2000 $25.20

150' 10/2004 $27

Vision 250D/7246:

185' 11/15/2001 $33.30

110' 03/22/2001 $19.80

100' 04/15/2005 $18

Vision 2 50D/7201:

150' 05/2006 $27

115' 10/29/2006 $20.70

Vision 500T/7279:

140' 02/01/2001 $25.20

Vision Expression 500T/7284:

130' 2004 $23.40

200'-400' Short Ends:

Vision 250D/7246:

200' 01/22/2003 $36

200' 03/06/2000 $36

200' 12/20/2001 $36

260' 08/30/2001 $46.80

300' 10/2004 $54

220' 06/22/2000 $39.60

220' 02/28/2003 $39.60

200' 08/2003 $36

EXR 50D/7245:

280' 01/22/2003 $50.40

235' 06/2003 $42.30

335' 06/2004 $60.30

300' 07/2003 $54

300' 01/22/2003 $54

240' 07/2005 $43.20

230' 06/06/2005 $41.40

Vision 2 250D/7205:

200' 10/2007 $36

200' 05/2007 $36

200' 07/2005 $36

350' 03/2007 $63

Vision 2 500T/7218:

250' 02/2003 $45

250' 09/2006 $45

Vision 2 200T/7217:

350' 06/2007 $63

Vision 200T/7274:

200' 11/2003 $36

210' 04/2003 $37.80

290' 01/21/2003 $52.20

Vision 2 50D/7201:

275' 09/2006 $49.50

Vision 500T/7279:

275' 01/24/2000 49.50

100' or less, or pre 2000:

Vision 500T/7279

115' 04/25/97 $20.70

80' Unknown $12.00

around 100', Unknown $15

30' 08/02/96 $5.40

90' 05/03/01 $16.20

Extachrome 100D/7239

350' 2P 08/03/96 $63

EXR 100T/7248

75' 02/26/97 $13.50

90' 04/25/97 $16.20

150' 05/22/97 $27.00

80' 2P 06/03/95 $12.00

350' 07/26/97 $63.00

200' 2P 11/15/95 $30.00

240' 07/20/97 $43.20

EXR 200T/7293

160' 07/20/97 $28.80

175' 01/26/98 $31.50

400' 2P 1994 $60

400' 2P 1994 $60

75' 10/05/96 $13.50

200' 11/17/97 $36.00

Vision 250D/7246

165' 06/26/98 $29.70

135' 05/09/98 $24.30

170' 12/11/99 $30.60

165' 11/16/99 $29.70

130' 09/24/98 $23.40

120' 1998 $21.60

80' 06/15/02 $14.40

EXR 50D/7245

110' 08/02/99 $19.80

75' 06/13/98 $13.50

100' 10/23/96 $18.00

160' 06/10/96 $28.80

100' 1998 $18.00

125' 12/20/96 $22.50

135' 10/05/96 $24.30

140' 04/19/97 $25.20

160' 09/30/96 $28.80

100' Daylight loads (2 new, 1 Recan) date unknown $18 each.

Vision 200T/7274

100' 03/14/99 $18.00

160' Unknown $24.00

100' 10/27/97 $18.00

EXR 200T/7287

400' 2P 1994 $60

400' 2P 1994 $60

400' 2P 1994 $60

80' 2P 10/17/95 $12.00

280' 2P 11/15/95 $42.00

200T/7294 {100' 1R Unknown $15

4 boxes of 160 Pro Konica 70mmx100' non-perforated Exp. 2003 make an offer

I have about 45 Impact flyaways in my kit. I love them. I do a lot of small airplane travel and flyaways are essential. I fill plastic ziploc bags with whatever is available to weight them down when I'm in the Bush, but on the home front, I use sand, and shot. Been using them for about 2 years now and none have worn out. I would get them again. They do tend to wrap a little more, but I'm fine with that.

Alrighty, no longer firm price, I'm willing to entertain offers.

I used this once for a job. It's in like new condition. Never been fully drained.

Features:

ultra-capacity memory-free Ni-Cad cells 12v, 65WH cells.

ruggedly constructed of black padded ballistic nylon

features a 7-stage L.E.D. "fuel gauge"/charge-status indicator

dual power outputs (one cigarette adapter and one 4 pin XLR. I will through in my 4 pin to pin power cable as well, not pictured)

auto-reset short-circuit protection

weighs just 4.8 lbs. belt fits waist size 29"-60".

Comes with charger.

$275. Price is firm. This is a great belt, just need some money for some extra camera gear.

Alright, one more try. This new format for the forum is throwing me for a loop. I_have_grouped_film_type_together_al_.pdf

Attached is the list.

If my kino's are close to the subject, I like to throw Hampshire Frost on. Gives me some spread without taking off too much of the punch. As soon as you clip something on though, you take away the throw, that's no lie.

I think it's a sony HD camera of sorts. The more I looked at the picture, I think it's the angle throwing you. I think it looks rounded at the back due to a lighter colored battery or lav pack.

Hmmm, maybe I haven't run into the overheating problem since I'm shooting in Alaska. In the winter.

The controls and the build on the 7D are a lot better, but don't regret getting it.

If you find an adapter for the Angie, let me know, I would love to hook mine up to the T2i.

I shot a short film this weekend with the 7D, and was quite impressed with the image quality. I'm thinking about investing in a T2i, but was wondering what are the shortcomings of the camera in comparison with the 7D. Has anyone had experience with both cameras? What would I give up if I went with the T2i? Thanks!

In terms of video....you're really not giving up anything. The biggest differences between the two is that the 7D has a metal body, and the T2i a polycarbonate. There is also only one processor on the T2i sensor, versus two on the 7D, but this only allows a faster burst mode while shooting stills.

In short, the 7D is a better STILLS camera, and more robustly built.

Wrong trailer. The new trailer should be in front of Alic in Wonderland this week so i expect it'll hit the net soon.

http://trailers.apple.com/trailers/disney/tronlegacy/

The trailer posted 03/09/10 is pretty new, do they have a even newer one? I actually think this will have a better story line than the first.

Picking up slowly this summer. Now comes the fun of the politics, how does one keep them from bringing the whole crew, and hire local, rent local gear, etc, etc.

From the Office.

"As of today, 18 productions are pre-qualified for the Film Industry Tax Credit and another 4 productions have been issued tax credits totaling $244,546.53. The pre-qualified productions anticipate spending over $50 million in Alaska and could receive over $17 million in tax credits. Among the pre-qualified productions are 9 non-fiction TV productions, 3 documentaries, 3 feature films, 2 TV dramas and an IMAX 3D production"