Mo Kamal

Brand new O'connor 2060HD head and Ronford Baker legs asking only 9,000USD

Also inclused is a Tuffpak heavy duty case and a heavy duty trunk for the head.

Legs have never been used and the head has only ever used on a one day shoot for about 6 hours so they are brand new. And included with the head is an adapter so the head works with mitchell and ball.

Costs more than 13,000 at stores, I am asking only 9,000

I took these photos in a somewhat dusty, poorly lit room where they have been stored for months, but other than some dust on the outside of the boxes, everything is in brand new condition

I will provide better photos or any other verification required for serious buyers before finalizing sale.

HERE ARE THE SPECS AND INFO:

http://www.bhphotovideo.com/c/product/481861-REG/OConnor_2060HD_PKG_ULTIMATE_2060HD_Fluid_Head.html

http://www.abelcine.com/store/Ronford-Baker-Heavy-Duty-Tall-Tripod/

http://www.abelcine.com/store/Tuffpak-Tripod-Case-w.-Wheels-TP-1146WH/

The RED ONE can be pushed very far with my postprocessing techniques, I have provided examples of ISO 1280 and ISO 2000 which I can get very clean without losing lots of details.

I am not a DP or an image technician, but to my eyes those results you posted are pretty impressive.

Is it possible for you to hook up with a programmer and build an app that would get those kind of results? I haven't seen the clips but from the stills the denoising is amazing.

There are a couple of good books on the craft of Camera Assistant that have useful information on focus. One by Doug Hart and the other by David Elkins.

The answers to Liam's questions might help us make more specific suggestions.

Thank you for the info, I'll try to get myself a copy of those.

35mm stills lenses or 35mm cine lenses?

 

What camera are you using?

 

Do you follow focus?

 

What viewfinder are you using and how are you monitoring?

 

Answer these and I'll answer yours:)

well I'm using 35mm stills lenses, on a hvx200 with adapter, but I also have a Red One and arri MFF-1 on the way.

Have been using the HVX lcd not the viewfinder, then checking playback on a PC monitor and a TV.

I am actually a director not DP or AC, on the small stuff that I've worked on (shorts and music videos) we had a DP, but since I invested in cameras and lenses, and since I have them to my self for long periods of time, I usually find my self playing with the equipment, and I am sure that I will go even more nuts with a Red One.

So that is why I want to learn the fundamentals, if not to be a DP or an AC, to know my way around their stuff.

I figured someone must have talked about the craft in detail, and about the basics or fundamentals. or maybe not :)

How can you answer "do you know of any tutorials?"

with

Yes, get a focus puller.(1st AC)

not really a smart answer.

OK so for a focus puller, are there texts, or learning resources available?

There is a ton of information on every part of film production, but I can't seem to find much on the lens and focus part of cinematography, tons and tons on lighting though.

Hello,

I am using manual focus 35mm lenses for the first time (used to shoot prosumer autofocus cameras)

and I am finding setting up the camera, measuring distance, and focusing very frustrating.

Do you guys know of any tutorials or online resources for the total newbie?

I basically need to learn where to place my lenses in relation to the subject to get good focus, but any other beginner level information on this whole topic would also be greatly appreciated.

Thanks.

David Mullen: what lenses did you use to shoot those scenes?

Thank you guys for the responses, and David Mullen: I am in the process of purchasing a Red One so Its really good to know that pro DPs are using the Red One at higher than 320 ASA with such good looking results.

We will be mainly using the camera on our own indy projects, so really the only thing that worried us about the Red is the noise levels.

I've been seeing more and more feature films shot with the Red One, at the same time, all the Low light Red footage I've seen online were in my eyes much too noisy for feature film use. So I am wondering if Soderbergh, Jackson or any other mainstream directors have actually used the Red One in night time or low light situation. Anyone know of any such footage available online?

Here's what I mean:

 

Are you looking to rent this out as a green screen space or an insert stage? If a green screen studio, great, you can have some clients. But if you rent it out as an insert stage that also can be used as green screen, you can have a bigger draw as raw space is always needed. If that is the case, paint it white to show as white looks better than green when showing the space. You always advertise that the cyc can be any color people need and that you sepcialize in green/blue screen. It simply offers more options for potnetial cleints and does not lock you into an green screen only stage, unless that is what you want it to be.

Actually, I was planning on just green screen for keying, but because of your post now I'm really thinking twice.

I don't think I can go wrong with more options, So I will probably end up doing as you suggested.

Thanks for the info :)

Thank you guys for the responses, this is what I have been told but I just needed to confirm.

Though I am wondering why:

most folks want a studio space and want white to work from and not green as a general color.

Why would they want white? do you mean white that would bey keyed out, or white as the actual color for the background which will remain in the shots after post ?

I just finished building a green screen for a little bit of personal use but more importantly hopefully to rent out.

We have a 28 by 26 foot screen (L shape), form floor to ceiling it is a little less than 10 feet, we have cycs in the corners, and the ceiling is also painted green

Yesterday I brought in someone to lay out the lighting as we need fixed lights to light the screen. The guy wants me to forget about the ceiling as part of the screen, because that is were he needs to hang the lights (kino like fluorescents).

Now this is my two part question:

How often will people renting the place need to use camera angles that would need the ceiling as part of the screen? (the space may be rented out for commercials, Since I do not have much experience in this area, it is very difficult to say what type of shots would be needed)

I really hoped that I could have the greatest room possible for camera angles, or do you guys think that lighting the screen from above is worth more than having that bit of extra room for more camera angles?

Yes I've posted a few myself over there as I've built my fair share of stuff too. Here's the latest and this guy did an admirable job:

 

http://www.dvxuser.com/V6/showthread.php?t=145518

 

Given that a Fulham ballast (and most of the competitors these days too) drives its output voltage at 40,000 times per second frequency, you won't be seeing flicker. Its getting pretty darn hard to find a commercial electronic ballast that drives at a frequency less than that. Advance ballasts drive at about 25,000 per second and even that won't produce flicker at all. Universal, Osram, Sylvania are all great too--I've tested them all. As far as a market leader, Osram ballasts are the most commonly used ones in fluorescent studio and location fixtures-- far more than there are Kino ballasts out there. Osram tubes are also the most commonly seen tube too on all these fixtures. They all work fine, tons of studios like TV stations out there using them.

wow, there really is a lot of DIY stuff going on, suddenly I feel like there are so many options and ways to go at it.

It's definitely gonna take me sometime to read all this stuff before I know what I want to do next.

Thank you for the pointers. :)

Be careful of flicker as well!

The Fullham ballasts i bought are like 20 bucks each, they power two 55 watt tubes or one bigger tube, they are absolutely silent, we tested them on video using every framerate on our HVX and there was no flicker.

I've heard that they may have problems in ordinary architectural fixtures, where they may run hot and output more green than they would with proper ventilation.

 

-- J.S.

I'm not too worried about ventilation cuz everything here is ventilated and the ballasts and fixtures have been tested with cheap 55w tubes and ran for hours with no heat problems.

I was actually worried about the Kino Flo tubes needing specific input from Kino Ballasts in order to function as expected, someone was saying something along those lines in a post I saw a while back.

Someone built one recently and you can see it there clearly functioning with Fulham ballasts and Kino bulbs.

I'm very happy to hear this, do you happen to have a link? there are quite a few threads about DIY Kinos on dvxuser

I'm in the process of building a D.I.Y fluorescent kit, actually I have the ballasts, reflectors, and everything i need except for the bulbs.

Since I have no experience with all this stuff, I've been reading around and was about to order some Kino flo 55w bulbs, but I came across some posts where people mentioned that Kino bulbs would not work well with non Kino ballasts.

Anyone have any experience using Kino tubes with D.I.Y fixtures or using any non Kino Flo ballasts?

Any input would be really appreciated.

Thanks.

Sorry about the double post.

Chad: does your setup have more than one wall ?, we're in the process of building the cycs, and the wall to floor part is easy to make, but building the corner (wall to wall to floor) part is much more difficult than I imagined. any thought there?

Good Luck!

Thanks

Good Luck!

Thank you

We had a very small room, maybe 8x8 in my previous studio setup. We had painted one of the walls chromakey green, and we backlit it as well as lighting in front of it... we were able to get a really good key with that. I'm sure having a larger room would be better, but it can be done with less.

of course it can be done, I was playing around once and pulled a perfect key off my bedroom white wall with only sunlight coming in through the window, but still this doesn't mean that this is the best way to go, I think what the Michael Nash was saying is that if you wanna have a professional setup with a big crew and a bit of equipment then things will be cramped and so you might as well use a portable backdrop.

For me though, the next step now would be figuring out how to build the cycs, the links above that Michael Nash provided contain an illustration that I think may be helpful. also I found this thread:

http://www.cinematography.net/Pages%20DW/H...onstruction.htm

So Jeff, do you have any pics of your chroma key setup?

I just found out that I miscalculated the dimensions of the room, the wall I'm gonna use is 25ft wide not 15, this probably doesnt change much for this thread, but it makes me a bit happier.

Thank you for the links Michael, and sorry it took me a while to post. I contacted procyc.com and I'm waiting for them to send me a quote. Their stuff looks so cool that I might just forget about building the cycs myself (if they're not crazy expensive).

Thanks, I expect it will be fun once I get started, though for now I'm still clueless when it comes to which materials to use and especially clueless on specification for the curved cys and for the floors.