Michael Kubaszak

Wondering if anyone can tell me their experiences/opinions. I'm starting a feature in a couple weeks and want to use either. I've used the cinetape a ton and the sniper once.

Panasonic Btlh-910

definitely 58 to pull and 56 to operate, if those are your only choices.

Yes, but make sure production is permitting you; it's their responsibility.

Clip On's are fine. But you'll want something stronger than an Optical Flat. I have production have a company make me Lexan filters cut to 4x5. Once they get dust or a scratch they are garbage but way better than a rock going through the clear and into a Master Prime or Summilux-C.

 

Thanks for answer, David. Does focus systems for film cameras differ from the ones for digital cameras? Is it possible to use Arri WCU-4 with Arricam lt?

All Wireless FI+Z systems work regardless of the individual camera. Doesn't matter if it is film or digital. Panavision or Arri, Sony or RED. BUT cables will be different for power and start/stop if it is Panavision compared to ARRI or Moviecam for that matter. But besides that, they are independent of camera body.

The WCU-4 will work with any camera if you have the UMC.

I'm wondering if anyone has any info on crash housings for an Arri Mini. I'm not coming up with anything on my searches. Thanks in advance.

Buy the large and small arri bag.

I bought the new Large Arri Basecamp last year and I really like it. Although the majority of what i've been working on has been studio so I don't have a good gauge on how it holds up to harsh weather. I'd stay away from CineBags. I have a few friends who hate theirs.

My friend has a Panavision one he got while working on a feature in London. I like it. The Arri seems a bit better and you can actually get it in the states. Shipping was ridiculous. Same thing with Mod 51 3mos or more waiting and shipping was as much as the bag. No thanks.

This has helped me in the past.

http://www.larryjordan.biz/tips/tip356.html

In theory, couldn't one achieve a classic film look by converting a a raw digital image to 35mm negative roll? That way you can shoot without the hassle of film (and the expense of wastage), while being able to take advantage of the subtle nuances which make film so stunning. After all, isn't a CMOS sensor just taking in pure images from the lens, whereas film passes its qualities on to the image?

What "hassle" of film?

It would help to know WHERE you are shooting.

Don't know the answer but, this screams of something that should be checked out at the prep. Unless of course production wouldn't give you one, camera flew in that morning etc. I throw/plug every battery on/in each camera at prep.

I'm interested in picking one up, being that it's under $1000USD. I'd like to hear some experiences and reviews. I've searched this site and others(except reduser eff that) and haven't seen anything recent. I'm skeptical about RedRock in general, but have had a decent experience with their non-iPhone wireless focus unit.

Obviously Cinetape and Ward's Sniper are the tops and if I could, I'd get one.

thanks.

Article on B-Series Lenses:

http://www.panavision.com/spotlight/rediscovering-b-series-anamorphic-lenses

I use the Camera Coffin for everything.

Also, this is a personal preference and there has been plenty of discussion on this, but I hate when a 2nd brings a lens to me with caps on it. Under special circumstances maybe. I want a lens change to be very fast, I don't want to wait 30 seconds at the camera because of caps, especially if everyone is waiting on camera. I find there is too much to juggle with when you are handling a very expensive lens. Also, the caps never go missing if they always stay in the case etc....

Red's, from my experience, definitely have more issues than other cams out there. You really have to do a thorough prep(not that you should half ass any prep) with Red's and their cards/drives. As a 2nd you should be at the prep if you're not booked on another gig, even if production won't pay you for the prep.

James, you might want to talk to the 1st AC about doing a Camera Coffin. Not sure if this idea has made it to England. But basically you get something like an Action Packer and a furniture pad or sound blanket. Put the furniture pad inside the Action Packer, slim down the cam and remove lens, put camera in the Action Packer and lock it. I do this during lunch or at wrap if staging area is staying the same and is secure. Your gear is in a safe location but I still wouldn't want a camera just hanging out on a cart(attached to a head or quick plate).

No, I totally get it. I figured to put down any info related for people who might be searching the forum later.

Not LA Gregg, I did a show in Florida and we spent 2 weeks on the beach with a RED One. Although it does get quite hot in the midwest united states too!

I'd recommend bagging whichever camera you are using like you would for rain. You don't want any sand getting into the camera and sand is small and can get in anywhere. Otherwise you could tape up the ports you are not using. But if it's going to be wet as well, bag it and be done. I would also put an optical flat or clear filter closest to the lens in the matte box. Have lots of canned air.

Be extra careful with lens changes (port hole and front and rear elements) and media changes. Bring good sunscreen spray kind is good but make sure you don't spray around the camera :P . If it is hot keep the 1st and Cam Op and Dp well hydrated. Force them to drink water. They'll thank you when they don't get heat stroke.

I'd recommend those "sausages" for talent marks or make your own as long as they have some weight to them.

I'd like to suggest a section for the numerous external recorders that are out there now. There's so many that I think it would be beneficial for people reading the forum to have them in one location much like the cameras in the camera section.

Well, depending on your location(if it's dusty) or if you're somehow still working with film, you might want a little more power than a blower.

A fellow AC mentioned Canless Air to me and I was wondering if anyone here has tried it. Or if they had thoughts or concerns. Seems like a great way to save money and avoid any accelerant or whatever that stuff is on lenses.

http://www.canlessair.com/Buy-Canless-Air-System-O2-Hurricane

I was. Sorry for the confusion.

Chris,

Witness marks are the distance marks on the barrel of the lens whether in feet or meters. J-Lar is a clear tape that camera assistant's use to make marks on the lens or on a wireless follow focus unit. Whether you use gaff tape or paper tape, tape up the ring with that and(write with permanent ink) start at whatever the lens' close focus is and move to infinity from there. Then put the J-lar on and you can make focus marks on that with a Staedler pen or china marker and be able to remove them easily once done with the shot as water(or saliva on your thumb) will remove the marks. Don't forget to label the ring with the focal length of the lens.

If the rental house doesn't have them in metric, do it the old fashioned way! Tape the rings up during prep. Do your witness marks in paper tape then put a layer of J-Lar on top of it to make your marks on.