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ian dart

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  1. ian dart
    hi nick, I to would like to see a repair manual but I have never been able to track one down. I have several c200 and c300 cameras in my collection. I have overhauled a couple of them and got them working. the main problem I have found is degradation of the main board, the traces deteriorate and fail. cheers Ian
  2. ian dart
    managed to find a photo of the rig hope it helps...... the cover piece I have covers the slot that the magazine goes in. cheers
  3. ian dart
    great to hear, yes its a fantastic place to work although I have now retired after fumbling my way through the industry for 30 years. in the 90's I had a rather large collection of 16mm cameras which I had to sell much to my regret. in the recent move I found the pathe bits and am happy to post them to you. am happy to cover postage. not sure if you can see it but my email is on my profile if you want to email me your address. was that the mick jagger ned Kelly...? cheers mate
  4. ian dart
    hi Jonathan, I had a complete system in my collection several years ago but have since sold it on. I can't help you with the technical side as it has been a lot of years since I have worked with it. I do have a drive shaft that runs from the motor to the take-up side of magazine and a light cover for the camera when the mag is removed. you are welcome to them if they are any help to you. cheers
  5. ian dart
    hi Chris, although it has been 40 years since I was a telecine operator, from memory some projectors had a shutter much like an ND filter that operated when the projector was stopped or reversed to stop the lamp burning a hole through the stopped frame. not sure if this is your problem but is worth investigating if it is stuck down. cheers Ian
  6. ian dart
    did we learn nothing from Sarah jones' death. your first priority should be the safety and welfare of your cast and crew, this is not negotiable. do the right thing and hire a safety/stunt supervisor
  7. ian dart
    as I stated earlier deferred payment contracts are the biggest load of crap in this industry in 40 years I have never heard of any crew getting a payment. producers come up with all sorts of excuses to not pay. the more jobs you do for no pay the harder it is to get paid gigs. you do not want to be the guy everyone goes to because you will work for nothing. (but why do you want to charge me ....you worked for Steve for free....) just my 2 cents
  8. ian dart
    well for a start they should be considering you an investor as you are supplying thousands of dollars of gear and your time for their film. I would at least be wanting a free tea shirt....(sarcasm) after 20+ years as a shooter and gaffer I have never received any deferred payment or preferred booking for any shoot I have done. (in fact the opposite is usually the case). I usually tell them I will do the first shoot for pay and when it goes to feature or series I will shoot or light it for free ( Needless to say I never hear back). you have to remember it is called. show business not show charity. there is no such thing as a cool project if you are supplying gear it is work and you should be treated with the respect that deserves. cheers .
  9. ian dart
    hi ben here is a film I lit that is set around a dinner table www.socialshorts.com.au:comedy.webloc scroll down to "serving joy " it may be of interest cheers mate
  10. ian dart
    well not doing 23 takes of every shot would be a good start to not burn time during the shoot day cheers
  11. ian dart
    hi lee here is a pic of a setup i did for a cooking show it was the only way to get some back edge and stay out of frame it is held up with command strips which can be removed without damaging the wall cheers
  12. ian dart
    christ i havent seen someone in such need of a blowjob in years
  13. ian dart
    some producers would would have you work 20 hours a day and feed you cold shoulder and tongue pie for lunch if you are lucky. it is up to yourself to set your working conditions and enforce them. i myself have a strict lights out at 12 hours condition which is not negotiable. this is known by all before i am booked. book me or dont book me those are my conditions take it or leave it. cheers
  14. ian dart
    i am not a union member. in australia the producers act like civilized human beings so we dont need them, unlike your part of the world apparently. ps. i am an australian and a gaffer so it should not take much imagination to see i dont really give a rats arse what you think. my runs are on the board. cheers
  15. ian dart
    producers with attitudes like yours Richard is one of the reasons crew resorts to agents and unions. cheers.
  16. ian dart
    i have had a few globes let go over the years, mostly in open faced lights, they just disintegrate and leave a bit of the base and two pins in the lamp i have never discovered the reason. i had a 150 dedo globe explode on set during a take and that certainly woke everybody up it cracked the mirror and scratched the focusing lens, i had it checked out but no one could come up with an explanation. my advice would be always have a safety screen on open faced lights. cheers
  17. ian dart
    i am not sure how the battery grip attaches to the camera but i would do a check to ensure the join can handle the stress and forces the camera is subjected to. the grip is being held on the car mount by a 1/4 inch screw but what is holding the grip to the camera. if it is just a plastic retraining clip i would not use it. cheers
  18. ian dart
    hi rod, i used a magic arm to attach to the hot shoe mount on the camera to stop the vibrations on the camera. the tripod is a manfrotto hi hat attached to 3 aluminium glass handling suction cups that have been tapped with 3/8 threaded bolts to mate with the 3/8 holes on the hi hat. this mount is as steady as a rock. we tried to rip it off and the bonnet will come off before the suction gives away. i would definitely use some form of safety strapping to keep it on for everyones safety. cheers
  19. ian dart
    you probably need to lock down the top of the camera to reduce the vibrations i would be putting safety straps on it to stop that very expensive sound if it all goes wrong, cheers
  20. ian dart
    the cost is typicaly just a couple of dollars per item but on set i offer it as a part of my gaffer services and dont charge. depending on time available. many a lunch break i have spent testing. rewiring i do in the luxury of my workshop and charge a nominal fee to cover parts. but should cost about 50 dollars depending on parts the wiring inside hot lights is under great stress from heat and movement (flood/spot) and tends to be the first to suffer. although the NAME BRAND lights spend a lot of time and effort on their attempts to make it durable and safe. most electricians as a rule wont do repairs as it is not cost effective. so you need to hunt down a friendly gaffer (if you can find one.........) after the recent death from a cheap/faulty phone charger i seem to spend a lot of time testing them. this i usually do gratis. cheers mate
  21. ian dart
    the bigger question than whether you can afford to get your gear tested is that there are more and more studios and locations that will not allow electrical equipment on their property that has not been tested and tagged. i have been on several shoots for instance where make up's hair dryer was not allowed to be used until it was tagged. cheers
  22. ian dart
    hi gregg, i am in melbourne australia just across the ditch.... i test to the australian standard AS/NZS 3760:2010 "IN SERVICE SAFETY INSPECTION AND TESTING OF ELECTRICAL EQUIPMENT STANDARD" from memory this standard also applies for new zealand. this applies to all electrical equipment that can be plugged into a mains power outlet with a voltage above 48v. including RCD'S (SAFETY SWITCH). what i meant in the above post is that most fails during testing are for visual faults before i even put them on the machine. cheers
  23. ian dart
    hi matthew, buy some RESIDUAL CURRENT DEVICES (RCD) (SAFETY SWITCHES) and run your lights on their own safety switch on set. you can do several basic tests yourself with a multimeter and there are tutorials on youtube for this. most of the items i test fail the visual inspection so check all your gear for visual damage, loose connections etc and do not use if damaged. cheers
  24. ian dart
    i have used the light on a couple of jobs so far and am more than impressed nice and light with good beam spread no need to carry around a lens box helps and standard wires fit it it meets all aussie electrical specs and had no problems passing a test and tag some more pics here http://www.andrewlocklighting.com.au/pdfs/new%20to%20rentals.pdf cheers
  25. ian dart
    hey mark i use two of these and am very impressed with them drop over one day and i will fire it up for you cheers
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