Jon Myers

I have a few questions for you... Could I get a phone number too call....thank you

Arri SR-3 Body 2 Timecode 400' Mags Long Eyepiece 2 Onboard Batts Charger Right side grip IVS Tap 2 Cases I have pictures to send if you're interested. I'd like to get 17,500.00 for everything. If you have any questions please feel free to give me a call. Jon Myers 818-282-5274

Cartoni Dutch Head for sale $2000.00. If you have any questions please feel free to give me a call. Jon Myers 818-282-5274

(2)400 foot timecode mags ARRI IVS NTSC video tap (2)Onboard batteries with adapter Charger FE-2 Eyepiece extension Right handgrip 2 Custom cases ARRI SR3 Body I also have a Cannon 11.5-138 zoom lens. I will not sell the lens separately. The body and mags are in good condition. Some of the paint has been pulled from assistants putting tape on certain areas. I'd like to get $20,000.00 for the camera and lens, $15,000.00 OBO for just the camera. If you have any questions please feel free to give me a call. Jon Myers 818-282-5274

The camera is still for sale. Until April 1st I'll let everything(lens and camera) go for $20,000.00. If you're interested give me a call. Jon 818-207-9900

Still for sale.

ARRI SR-3 super 16mm camera for sale. 2-400' timecode mags, rightside handheld grip, 2 onboard batts with charger and adapter and extension eyepiece. I also have a Cannon 11.5-138 zoom lens. I'd like to get $25,000.00 for the camera and if you want the lens I'll throw it in for $5000.00. If you only want the lens that will be $10,000.00. I have more pictures if you're interested. Thanks. Jon Myers 818-207-9900

Give George a call at Optical Electro House in Culver City, CA at 310-204-6577. I know that he rents them and sells them. Jon Myers

I shot a movie in March on the JVC GY-HD200U. When we were shooting everything looked great on the monitor. I used a 9" CRT field monitor. We recorded to tape and to a hard drive (firestore). Now the producers are trying to cut some footage together and it seems like the footage is degrading. First they tried using the footage that was recorded on the hard drive and it just kept getting darker and darker, to the point were they couldn't use it any more. They then tried to capture the footage from tape and the same thing happend with that footage. We've been to several post houses, JVC and spoke with the people at Apple to see if it's a FCP or Quicktime problem. What's really weird is that we went to a post house and captured some footage and it looked great, then they went back and couldn't reproduce what they had captured last time they were there. It seems to have everyone stumped. They went to NAB and went to several different booths and no one had any idea. Not only does the footage get darker but the color has changed. When I shot it, it looked really warm and now some of it's turning yellow. They let me know a couple of weeks ago about the problem but the way they told me it didn't sound that bad. I'm going to get more involved now. This is the third movie that I've shot with a variant of this camera (I've shot with the 100, 200, and 250). The first movie everything went ok. The second movie some of the tapes would have nothing (no video or audio) for the first 30 minutes into the tape and then all of a sudden the picture starts and the timecode is correct. So we lost the first 30 minutes on about 1/3 of the tapes. All I can say is that beware using these consumer cameras. Jon Myers

Try calling George at Optical Electro House in Culver City, CA at 310-204-6577. He may have something. Jon

I have an SR-3 with an IVS tap, ground glass has 1.33, 1.85 and 16x9 framelines that work with the ARRIGLOW, 2 400' mags, long eyepiece, 2 onboard batts, adapter and charger, handheld grip with 2 cases, one for the body and one for 3 mags. Everything is in really good shape. I bought it from Visual Products in January of 07'. I've shot 3 movies with it. If you have any questions please feel free to give me a call. Jon Myers 818-207-9900 I'm looking to get 45,000$ for it.

"As with any monitor you need to view it in proper conditions" What the viewing angle like on it?? Do you have problems with it? Jon Myers

Try Band Pro at 818-841-9655 ask for David Jones and tell him that I told you too call. They might have them. I haven't tried to buy one in a long time. I didn't realize that they were already getting hard to get. Jon Myers

DO NOT use a LCD monitor for lighting purposes. When you change your viewing angle it looks like the exposure changes. It doesn't but if you're not on the right viewing angle then you're not going to get the correct exposure. Only use a tube monitor. I haven't seen one LCD that I would use. Look in any top post house in a room where you need to see color and exposure correctly and you won't see any LCD's. If you can't afford a big monitor get at least a 9" field monitor from sony. You can always get a big LCD for the clients to use. If anyone does know of an LCD that will work please let me know. Jon Myers

Be a camera operator for a couple of years first and by then you'll know where to go.

When I first read the script it said that you could see a persons reflection in a bead of sweat. As soon as I read that I remembered what an AC friend of mine showed me while I was doing B camera on a show during our many hours of down time. It's almost like looking through a microscope. I haven't worked with any close focus lenses that could get as close as we did. The show we are on can't afford to get the right equipment for the job so we made due with what we had. I love doing stuff like this. Like Brad said we had the whole crew standing around watching what we were doing it was pretty cool if I do say so myself. Jon

Hey Brad don't tell everyone all of my tricks. Jon

That's why I LOVE film cameras. They can upgrade the film all they want and you can still use the same camera. I can take a camera 50 years old and put new film in it and shoot a movie and nobody would know. I say just stay with film and then you won't have all of these problems. What about archiving HD.....how long will it last? Check and see how much it cost to put all the footage fromt a movie in storage. I don't know if it's true or not but I'm sure that someone does but I heard that it's about 4 times as exspensive as film. If anyone knows for sure please update me. Jon P.S. I like what Allen Daviau said when someone asked him how he liked shooting HD now, he said "I've been shooting HD for 30 years it's called film".

Has anyone done a film out from HDV? I was wondering if there's anything special that I need to worry about while shooting? Thanks in advance. Jon Myers

It's just regular 16 not super.

I just noticed. Is that the Robert Duke that worked on "Constellation" in Huntsville a couple of years ago? This is Jon Myers the Camera/Steadicam operator on that. If it is how's it been going?? I hope well. Jon Myers

Whenever I do my resume I always think this "If someone picked up my resume off of someone elses desk could they tell who I am and what I do??" If I picked up your resume there's no way I could tell what you wanted to do. You've done everything from grip and electric to directing. When people hire you they need to think that they're hiring the best at any given skill. If you have 10 different job skills then it looks like you're not really focused on anything. If this is going to be your camera operating resume then put your education and only camera operating jobs. I'd be careful about putting DP jobs on there. Whenever I DP things I won't hire anyone that's trying to move up to the DP position. I've tried this before and have nothing but problems. They always start getting into lighting discussions and other things that they shouldn't be worried about being a camera operator. Now a camera operator has to worry about lighting when it concerns flares or unflatering light on the actors. Being an operator you should call something to the DP's attention and if he says that it's fine then you've done your job. I don't know if this helps or not but I hope it does. Jon Myers

I've put pictures up on my website if anyone is inerested. web.mac.com/jonmyersdp . If you have any questions please feel free to give me a call. Jon Myers 818-207-9900

I have a MINT condition Eclair NPR. The only thing that I've bought that's not in NEW condition is the motor. It's a Perfectone motor. I have the original motor that takes an external sync box which I don't have. I still have the orginal case with it too. It comes with 2 400' mags and 12-120 Angenieux zoom lens. When I took it to George at Optical Electrohouse he asked if any film had ever been through the camera. I don't have a battery for it but if you'd like I can arrange one for you. If anyone is interested I can send you some pictures. I'll try and figure out how to post them. If you have any questions please feel free to ask. Jon Myers 818-207-9900