Seamus Donahoe

Hey Sean, I realize that it was a while ago that you posted this, and I was wondering if you ever came to an answer. I believe Jenn Pipp should know for certain which models Emerson's Aatons are, but there are a few wrenches that can be thrown into your assessment: Neither of these two cameras have variable shutters. This could either mean they aren't the models you've deduced (unlikely), or that Emerson had them both modified because they're afraid of their students actually using a camera to it's full potential, which is far more likely considering that neither of them have video taps (definitely a modification), and they're both "permanently" set to regular 16mm (you and I know how permanent that was). I'd love to know if you've come up with anything else. ~Seamus

Hello, I've got a bit of a puzzle that I can't quite figure out. I'm currently temping as a manager at Emerson College's student equipment rental facility, and a student has asked to rent an 85 filter for an HVX to be used during a green screen demo. Unfortunately we didn't have one in 82mm, so it was kind of moot anyway, but I'm still curious what it would be for. He said a professor had suggested it, and couldn't give an explanation. My initial thoughts on this were: well, why would you need a filter when you can white balance to whatever color setting you want (cheeky, I know), but then I thought maybe (under 5600K) greenscreen reflects it's tones more vibrantly thus allowing for the possibility of a more accurate chroma key. This in turn could run the risk of there being too much bounce onto the subjects (space limiting), so the 85 could be called in to cut down on this spill, while maintaining skin tones (if balanced for 3200K). But then, that means that everything coming in the lens would be balanced, which would equal out the intended effect on the greenscreen. Either way, I'm stumped. Does anyone have any thoughts on this? Thanks, Seamus

I was kind of unsure where to ask this question. This seemed the most appropriate: I've just rented a package, and was unconfortably rushed through my check-out and am faced with going through everything now. Unfortunately I've come across some troubles with the tilt lock on my 503hdv fluid head. It's pretty much jammed. I notice there's a tiny allen-key bolt on one side of the lock, and I'm wondering if I can loosen that to try to loose the entire tilt system, and trouble shoot from there. I've muscled (more than I'd like to say) at the lock and it won't budge. The "ergonomic" design is actually making it much harder to get any leverage. I'll keep working at it, but I'm wondering if any of you fine folks have any suggestions around this issue. My apologies if I've mis-posted this question in the wrong thread. Thanks for any and all help!

Hello, I'm a student starting my last year in film school, and I've interviewed to DP one of the larger productions that happen biannually on campus. During talks with the director we had to consider a few scenes that take place on roads, moving with a motorcycle gang. I feel that these scenes would not be effective without the graceful dynamics of jib or crane movement. We are going to shoot on Super 16mm, probably with either the SR2.5 or SR3, and we'll be working on a fairly tight budget. My initial thought would be to mount the camera onto a jib which in turn would be stabilized on the back of a pick-up truck. The Jib Operator and possibly and AC would be in the bed of the truck along with the rig. But, there are some obvious considerations arising. 1.) Is this conceivably safe? How can we make it as safe as possible? 2.) What would be the maximum recommended speed for such a rig? We want the subjects to look like they are really zooming. Can we cheat this by using a longer lens? 3.) Will camera shake/wobble be as big a problem as I'm thinking it will be? 4.) Are there other, more effective options to get a similar type of shot that would still be cost-effective? I am very excited about the possibility of shooting this film, and pulling off this rig, pending the offer for the position. I'm very grateful for any suggestions and input. I'm so glad that there is such a resource for us budding filmmakers. Thank you.

Another important safety point is to make sure that all knuckles and extensions on a c-stand are fully locked when not in-use. This may seem like an obvious rule, but I've seen this often on "no-budget" and student sets. In fact, I got a nice little nose fracture last year from someone else's negligence.