Chris Keth

Very nice welded steel equipment cart for sale. I got this meaning to make alterations to make it into a camera cart but I don't have the need for it any more. It would be a great photo studio cart or a camera cart for a camera assistant who does a lot of stage work. The shelves measure 48" long by 24" wide, which is the same as a Sr./Senior size cart by other manufacturers. The space between shelves measures 21". The bottom shelf has a lip to prevent things sliding off but the top shelf doesn't have this. The wheels are 10" pneumatic tires so it travels well off paved walkways. The cart is welded together and doesn't fold, so it has a much higher weight tolerance than folding carts but you need a larger SUV or a pickup truck to transport it. Asking $400, local pickups only PS- Note how we wet it down for cinematic effect. We're thinking of the viewers here. Keywords: AC, assistant, camera, magliner, backstage, back, stage, yeager, jr., junior, photo, studio, photography, AV, A/V, audio/video, audio, video, visual

I've never heard anything about that. It sounds like it could be a rumor related to what happened to Robert Capa's photos from the d-day landing. He shot several rolls and only eleven negatives survived. Here's a snippet of the story written by the photo editor of Life at that time: "At about 6:30 Wednesday evening, the call came in from a Channel port: Capa's film was on the way. "You should get it in an hour or two," a voice crackled over the line before fading into static. I shared this information with pool editor E. K. Butler of AP, a feisty little martinet whose nickname was "Colonel." He snapped back, "All I want is pictures, not promises!" Around nine, a panting messenger arrived with Capa's little package: four rolls of 35-millimeter film plus half a dozen rolls of 120 film (2 1/4 by 2 1/4 inches) that he had taken in England and on the Channel crossing. A scrawled note said that the action was all in the 35-millimeter, that things had been very rough, that he had come back to England unintentionally with wounded being evacuated, and that he was on his way back to Normandy. Braddy, our lab chief, gave the film to young Dennis Banks to develop. Photographer Hans Wild looked at it wet and called up to me to say that the 35-millimeter, though grainy, looked "fabulous!" I replied, "We need contacts - rush, rush, rush!" Again I phoned Butler through the AP switchboard, but he could only bellow, "When do I get pictures?" Brandt's wirephoto of troops landing apparently unopposed had scarcely satisfied the West's desperate need to believe in the actuality of invasion. A few minutes later Dennis came bounding up the stairs and into my office, sobbing. "They're ruined! Ruined! Capa's films are all ruined!" Incredulous, I rushed down to the darkroom with him, where he explained that he had hung the films, as usual, in the wooden locker that served as a drying cabinet, heated by a coil on the floor. Because of my order to rush, he had closed the doors. Without ventilation the emulsion had melted. I held up the four rolls, one at a time. Three were hopeless; nothing to see. But on the fourth roll there were eleven frames with distinct images. They were probably representative of the entire 35-millimeter take, but their grainy imperfection — perhaps enhanced by the lab accident — contributed to making them among the most dramatic battlefield photos ever taken. The sequence began as Capa waded through the surf with the infantry, past antitank obstacles that soon became tombstones as men fell left and right. This was it, all right. D-Day would forever be known by these pictures."

SOLD!

What is different about a slate for stereo?

That is a useful one. I've used a rolling hitch for a long time without know the name for it. When I need to tension a line, I pass the rope/cord though an anchor point and tie it back on itself with this knot. It will slide up and down to tighten or loosen but will stay put after that.

No, I'm talking about Die Hard. C and E series is the actual "model", it's the name of the series of lenses. The movie was shot with more than one lens.

If things like this bother you, perhaps science fiction isn't for you. ;)

Panavision is in Die Hard's credits for cameras and lenses, and primos weren't released until 1990 so it would haveprobably been C and E series anamorphics.

I can't edit my post, but I should have added to this sentence, "unless you successfully get it agreed-to in your contract that you have the right to be there, and even then it doesn't give you any right to overrule a director no matter how bad you find his visual sense."

Whoah, lets get one thing straight. You don't have the right to grading that footage. The director and the production company would be very, very smart to involve you and your visual talents, but you are not entitled. The director steers the ship and the production company owns that movie, end of story. If they don't want you involved, you won't be involved. I don't think that would be good for either party- the movie will look better if the DP can have input into the CC conversation, and the DP will feel that his work is better done having been involved in the final step- but such is life sometimes.

That's nice and all but they clearly haven't learned anything from having their DSLRs used for video work. First problem is that it will still be EF mount. They are incredibly foolish to not offer a PL mount. If they offered it, they could at least do it at an upcharge and take some of the money that's been going to clairmont, keslow, birns and sawyer, etc. to slap PLs on canon DSLRs. Second, electronic follow focus? That's just silly. It means every lens will be more expensive than it needs to be and there still won't be repeatable focus marks because the motoring and gearing inside isn't made for it. One must also factor in the problems I foresee with the electronics going down all the time because they won't put a durable professional grade connector on the thing. SDI out seems to be the only thing they're planning on getting right, assuming it's an out in 1080P. The link is obviously a rumor and doesn't specify SD or HD.

This sounds like it could be a really fun film to shoot, even though covering all that ground on the links will be tough for your crews. A lot of golf courses are quite artfully crafted and I can see some very nicely composed big wide shots coming out of that. What sort of reference material have you and the director been passing back and forth?

Includes the 5/8" pin and the bumper. Fits the backstage TR-03 cart (1" square tubing) Asking $100 for them together.

Bruce, do you know if there is any difference in the eyes of the insurance company whether it was a "production" rig that failed or a rig homebuilt by a non-professional?

It's served me well. No coke or coffee spillage since. For some reason, before that there was this streak of coffee cups people snuck onto my top shelf where I wouldn't notice and I'd move the cart and it would spill.

I'm fond of a 100mm cooke panchro for its look on closeups.

This is most likely completely true. The interesting question to me is whether or not that access to easy information and cheap digital shooting is a good thing. For a long time, people had to learn things through a system of working up through the ranks, experience, and trial and error. Now someone can easily know most of the theory there is to know without ever touching a camera. It will make very different films, for sure. I can't decide whether I think they will be better, worse, or just different.

I should add that in the photo of the tripod hook, what looks like rust is really red dust from a lakebed in the Victorville area.

Filmtools converted magliner for sale. Junior size w/ top shelf and hook for sticks. 8" tires. Asking $700. This would cost you $900 from filmtools without the hook for sticks. I'm in glendale area. Phone at 818-636-7859 or e-mail me at chris@christopherketh.com

Perhaps you shouldn't be looking for professionals, then. There are a lot of students out there and many of them are very good and will come out for short productions for the experience and reel material.

I can't say I've ever had to tie a particular knot on set before. I do think it's a good thing to know a few of the basics no matter who you are or what you do, though. Those might include a square knot, a bowline, 2 half hitches, and a taut-line hitch.

I've worked on shows with the red where I felt it was used very well and shows where it was used very, very poorly. It's the same as with any other camera and format except this one is easier to get a hold of cheaply.

Good to hear it's still moving along.

You can but, considering the time value of money and all the failure you will endure to reach a successful steadicam, it would cost you more than buying a used rig.

Well, you made a couple mistakes there. First of all, William is right. Unless there are physical limitations, always pull the shot. Even if it's wide and you think your depth of field should hold it just pull the shot anyway. Second, you can not trust the monitor to tell you what is sharp when you're shooting on the red. You are recording more than three times more pixels than the monitor can show you. You have to treat it like film and in some ways, it's tougher. The way focus falls off on the red is more abrupt than with film. You could have probably got away with what you did on film. The pcam info sounds plausible to me and you do understand it correctly. That wasn't the problem.