Chris Keth

They don't do the same thing. Panascout just masks the camera. It gives you the look of one lens of whatever field of view the iphone camera is. Artemis crops into the camera for longer lenses than the iphone, or superimposes the camera view onto a frame for wider lenses than the iphone. Rather than choosing the aspect ratio, you choose the format and the exact set of lenses you want to easily select between. Those lens choices have been checked against real cameras with those lenses on them. It is pixel accurate. I think it's worth the extra money if it's something you'll use. I use it most every day at work and it's impressed an awful lot of DPs who have bought it right there on set.

Interesting you say that. I don't know what this says about me, since it's all complete poop, but I watch more British TV than American. I try not to miss Top Gear, The IT Crowd, Dr. Who, and Torchwood. There are American programs I like and watch but they're all on a "if it's on, great" basis. I don't go out of my way.

If you have an iphone, you might have a look at an app called "artemis." It's a directors' finder developed by a friend of mine. It's every bit as accurate as the little ones like birns' and it's $40. I use it quite a bit when we don't have a proper directors' finder on set, and sometimes even if we do just because it's quick.

If your goal is saving money, then I wouldn't recommend coming to LA between now and school. It takes that long just to become stable in your working relationships and to have really steady work. There aren't production companies that employ assistants any more; work is entirely on a job-to-job freelance basis.

The occasional freebie is one thing. I still do that from time to time and I've got good paying work out of some of them later on down the line. Where I usually draw the line is in quantity and in exactly what they're asking for and what else they are paying for. Nobody gets me to pull focus on 35mm film for free, for example, because if they can afford the camera rental and the film they sure as hell can afford me, too.

That zoom feature is just a digital zoom in to what is being recorded (but not greater than 1:1). If you're off for that you're soft, period. I don't know your exact rig but with a 5D there's a very good chance that the FFD is off or that your lenses don't tape out properly.

I finally got some time in my father's shop to knock together a frontbox, so I wanted to update this thread with a few photos so it's complete. This is built to the plans I posted above. Cost was about $20 in red oak lumber and 1/8" birch plywood. If I buy it from filmtools, I think the bracket will cost about $50. I will probably make that, too, since they're such a simple bit of hardware.

Hi, Wes. Could you change your display name to your first and last name? It's a rule here that we all kind of keep up collectively. What kind of go cart? Do you have any photos of the particular type?

It happens. I recently loaded on a music video where all of our short ends were consistently 10-15 feet shorter than the cans stated. After a few of those, I just wrote the mag labels with 20' less than was listed on the cans.

Exactly. This all depends on whether or not the rental house has a 16mm camera that can be run backwards, though. The issue has never come up so I don't even know if such a camera exists, personally.

That's a great idea, since you're at the rental house anyway. I think SR3 highspeed will run backwards, but don't quote me on that.

I don't know if aaton mags will allow you to manually wind backwards. If it will let you, just go into the darkroom, remove both doors and hand wind the film backwards. If the magazines won't let you wind backwards, you just have to do it with rewinds in the darkroom. Rental houses should have a set of rewinds you can use, if they don't have a set in every darkroom.

Look at the tape hours and ask about a service record. If it's more than maybe a couple hundred hours and it's never been serviced, I'd pass.

I replaced my rubbermaid camera cart when one of the legs broke. I've decided to sell it rather than fix it. It needs the leg replaced and it needs new wheels put on. The bolts are there for the wheels, the spacing is for regular hardware store pneumatic wheels. Buying the cart and making the repairs should get you a functional cart for about $100. A new one from filmtools would run you $495 with 8" wheels. The cart has been modified with a plywood tongue to hold sticks and short sticks. There are also holes drilled for bungees to hold high and low hats under the top shelf and a few hooks for cables. It's a pretty good setup on a budget or as a second cart for someone. I'm asking $40. I live in Montrose, CA in the LA area. PM me or call me at 818-636-7859 if you're interested.

I normally work 4k red to a CoC of .00075". Since you may be going to imax, you might go a bit tighter to .0005".

It's a simple concept that gets blown out of proportion as if it's a new addition toward a unified theory of physics. The circle of confusion of a system is the largest circle on film that still looks like a point, rather than a tiny circle, to a viewer looking at the finished product.

There aren't all that many manufacturers of cine lenses. There used to be more. Now we're down to zeiss, cooke, and angenieux for the most part. Leica is releasing a set of cine primes, so they're a newcomer to cine lenses. They've made great lenses for a long time, of course, and their lenses have been rehoused for cine use for a long time. As a rule, lenses made for 16mm or S16 formats won't cover the 35mm frame. They'll probably vignette. Lenses made for the 35mm formats will always cover 16mm, though.

Did you call panavision?

I should rephrase what I said. It seems like a good value. I like the way that artemis and helios work better, but those together are a lot more money than panascout.

I saw that and it does seem quite nice. I already have artemis and helios (and a direct line to the developers so I can pass along ideas) so I can't see buying it.

Hey, everyone. On a couple days off I updated and slightly cleaned up the frontbox plans I made available a while ago. It's available a couple of different ways: -a PDF with three views (view it 100% in adobe acrobat to get rulers) in one document -adobe illustrator files for the top view, front view, and side view. It should be pretty evident how everything fits together, but feel free to ask if something isn't clear. I'm not much of a technical draftsman. PS- I downloaded the files to check and ".ps" was appended on the end of every file and I don't know why. Make sure to remove it. The first file should end in ".pdf" and the illustrator files should end in ".ai"

Also, handheld on an 18mm is pretty much the situation in which you would notice diffusion the least.

Did you check the cleanliness of the lens on the MR fixture? I've got them before that had enough dust in there to cut a full stop of light.

That's an awful lot days for a short, and a lot of time to ask of people who won't get anything out of it. :ph34r:

This is a forum of professionals. Posts like that don't make anybody want to contact you. Please change your display name to your full first and last name (it's forum rules) and then tell us what you need to know in a way that we can read and understand it.