Michael Kubaszak

When I started as a Camera PA, I just brought myself. I looked around at the tools and bags the 1st AC had and started making a list on my iPhone of things I needed to buy(sadly I still do this WILL IT EVER STOP?). So if you are looking at ultimately moving up the camera department ladder you should acquire the same tools they use. I bought something like this when I first started ( http://www.filmtools.com/acjupokiso.html ) and of course spent hundreds more on other tools. You should also definitely look into a mac laptop for data managing.

I worked with a DP who used a meter as well as a DSLR to judge his exposure. We were shooting 250D and 500T. I'd venture the guess that you can probably get close enough but if you're shooting on film get a meter and if don't want to spend a lot of cash get a Sekonic Studio Deluxe.

Hi, Thanks for the replies! I went with Lee 652 Urban Sodium on the right and Lee steel green on the left. This is pre- color grade. Cam was Sony F3 ASA 800 WB 3200k

Just wondering if anyone has used these before and has thoughts and info on them. Prices, place to rent etc.

http://www.uniqoptics.net/index.htm

Thanks

Loader initiation fee is 4k. Dues are $150 a quarter.

Ha! I heard a story(an old focus puller's tale) that a 1st got a set of primes at prep that had an oily residue all over the front element and used lighter fluid on the lens, lit it and the oily residue was burned off.

Disclaimer* I do not recommend nor condone said activity above.

  Pancro is great for cleaning the disks as stated previously. It's also great for cleaning slates, I'm not a fan of carrying lighter fluid in my AC kit or using it to clean stuff.

Also as stated before you really shouldn't use the focus disks for marks unless you dof is decent or you don't have time to tape up the lenses or the lenses don't allow it(mk1-2 super speeds). The best way to do it is to get chart tape put it around the lens and put a layer of J-lar over the chart tape so the staedler will wipe off easier. Although I have seen a new Arri light weight follow focus that has hard stops for two focus marks that had very little play in it. But the amount of play in the wheel will vary from follow focus unit to follow focus unit.

When shooting film they are the hard copy link from set to the lab. It lets the lab know if a scratch occurs they can look at other rolls from that mag to see if the scratch is consistent as Adrian said. They also let the lab know of any special processing that might occur. They are also hard copies for the loader to archive so if there is any confusion or questions it's written down. It allows you to go from the camera report to the film report which keeps track of total raw stock, exposed stock and short ends and recans. Every DP and 1st is different for what they want done and how it's done. Some rental houses make their own reports as well as labs. I got a great report template from a 1st where I was the loader on the show and just got used to that report.

Also, lens and t-stop are more approiate for a camera log. Which keeps track of all of that and lens height, scene, roll, etc.

I'm DP'ing a short at the end of the month(1/2 night ext 1/2 night int) and wanted to play around with either making tungsten look like Sodium Vapor or Mercury Vapor. I've seen Lee's Super White Flame 232 on a tungsten light and it looked close to sodium vapor to me. Also, I've read on here and heard from some gaffers that Lee Steel Green 728 on a tungsten fixture approximates Mercury Vapor.

I was wondering if anyone had any suggestions or results with said gels. Or with these Lee gels which I guess where specifically designed for making vapor lights: http://www.leefiltersusa.com/lighting/news/articles/ref:N4AA7745D2BD62/

The CP's are too loud unless you have a barney and a sound blanket and a leather jacket, hell the SR-1's are too loud for studio work.

You are "saddened by the existence of B movies"?

Well, I hate to say it, but yes, you do come off as being pretentious.

But more than that, you illuminate (to this crowd, anyway) that you not only know little or nothing about making films, but that you are possibly destined to never make a film at all.

We have all met countless film students who are committed to never making anything but masterpieces.

 

You guys live inside the myth that you are special, and that the film industry are just waiting to hear your pitch or read your script, then they will no doubt hand you giant big bags full of cash to make your masterpiece.

 

My advice? Make a film. ANY film. You will be humbled.

As someone who has made a "B-film" myself, NOT intentionally, I can tell you that once you actually make a film, you will discover that feeling familiar to all of us on this board who have made actual films (not just discussed them in class with some instructor who probably hasn't made actual films either) that the entire universe is conspiring to keep you from getting your film made.

The problem with movies, is that ANY ONE THING can turn your masterpiece into a B Movie.

Bad acting, not enough money (to hire skilled people, build good sets & design, etc.), bad or even just a slightly problematic script, bad weather, lazy crew members...

The list is endless, and these don't include the most obvious one - you will be a first time director, and it's almost inevitable that you will make crap your first time out.

Literally every top director, writer, etc. has made what you consider to be crap.

 

All you have now, is good intentions and a overabundance of false confidence.

That's not a good combination.

 

Matt Pacini

This and I love B movies they are often allowed to straddle that political correct line a lot closer(a lot of times crossing it) than A pictures. I shot a B movie(Blood Junkie available at Troma.com(shameless plug)) and have shot commercials, been on A shows and the on set experience and general camraderie and fun was much more evident on the B movie.'

Also you can be smart enough as a writer/director to take advantage of the purported flaws of a B movie filmmaking.

adrian, why not let the post house correct it?

I did find out that the Alexa rents for a few hundred more than a RED MX (bodies only). Also, that the EPIC(if released at the price RED is expecting now) will be about the same as an ALEXA.

imdbPro says it was a 7.3 million dollar picture.

RED and 35mm film are large sensors just like the DSLR, so you would still have the same issues.

For the most part, HDSLR's don't use Cine lenses.

I've seen the reverse with RED. Where there is no AC and the DP has to take over those duties. Sad times indeed.

Haha, Glen, that's true here on the East Coast too. Never fails!

Same in the midwest...

Have you thought about Ultra 16mm?

http://www.cinematography.com/index.php?showtopic=48093

You could spray your pouch with Camp Dry or something similar.

Ultra Primes are much much lighter, so if you're going to be handheld I'd choose them. You could also test out some diff filters on the Ultras if you like the softer look of Cooke's. Also, Cooke's are easier to find, there are more sets of them floating around.

Well, you CAN take the zoom off to check it but, it's a hassle, takes more time, and is not necessary. Primes are smaller and can be taken off much quicker and wide primes can't magnify the gate enough to check it. Although you can look through the lens on lenses tighter than 40mm.

When you check the gate your main goal is to see if it is dirty or clean. If it's clean you say 'Good Gate!' and move on, you don't spray air in the gate. If it's dirty then you call out 'Gate's dirty" or something similar to let the AD know that they need to go again. You then clean the gate with an orange stick or canned air. I've never taken a mag off to clean a gate or check it. By taking the mag off you have a greater chance of removing a hair that could be in the gate, so you'd never know if it was there and would think it was clean.