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Steve McBride

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Steve McBride last won the day on January 12 2014

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About Steve McBride

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  • Birthday 09/05/1988

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  • Occupation
    1st Assistant Camera
  • Location
    New York, NY

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  1. Hey guys!! Looking to sell two SmallHD DP7 Pro OLED monitors. Both are in used but working condition. Minor cosmetic wear and tear to both, one of them has a few rough corners but both monitors work great. Each includes the battery mounting plate and an Anton Bauer Gold Mount (all working). One is missing screws to attach plate to monitor. https://ibb.co/k3Lzds7 https://ibb.co/QKKRhny Looking to sell each for $500, shipping or local pickup in NYC. Feel free to DM me with a counter offer. Cheers!
  2. I like to stick to 4x5.65" filters as much as I can. They're lighter and easier to handle and they'll cover any lens 14mm and above in a 3-stage LMB-15. The only time I use 6x6" is when I have wider lenses than a 14mm or have a zoom that needs it to cover (like a 12:1 Optimo). When I have those lenses I try to pursuade the production to get a duplicate set of filters in each size, but often producers don't see the point in this and just get a full set of 6x6" filters which is annoying when you only have one lens in a 13 lens package that requires it...
  3. Most questions have been answered, but here's my input on a few. - I learned that diffusion goes closest to the lens, and an IR or anything straight like that goes furthest. - If you're using a dumb slate, it doesn't really matter if it's upside down or not. If you're using a smart slate flip first and then mark so that the AE can read the timecode without turning their head. Because of that I always tail sticks by a flip first and then clap to keep it consistent. - If you're using a Cine Tape, don't rely on it solely, use it as a guide to help you figure out which of your own marks that you taped out are correct. - Pulling anamorphic is essentially the same, just have to make sure you're marks are correct because anything off the center of frame may actually be an inch or two off the focal plane. Also, try not to pull excessively as the distortion of out of focus objects with breathe more on anamorphics. - Staedtler non-permenant pens are the best for follow focus discs. Just wet a kimwipe with your spit and wipe clean.
  4. I was was wondering if anyone has plans for a camera truck build for a 14' cube truck, I'll probably make my own, but I'd love something to reference. Looking for one side with a work bench and shelves for chargers and misc equipment and the other side with shelves for gear. Also needs space to strap a built Magliner and sound cart in. I'll post up my plans when I draw them up.
  5. You could always go with a CP2 lens since they're very light weight and relatively inexpensive. Then use your Arri or Preston FI-Z to control everything. Should also look into using a Teradek or Modulus or some other wireless system for monitoring everything and judging exposure.
  6. I use a marking leash that has 1/2" color tape (6-8 different colors) and 2" black paper on it. Then on my belt I have a small core of 1" white and a 1/2" fluorescent tape for marking things quickly. Then I'll have a small dog collar that usually has two different 1" fluorescent colors and electrical tape on it. That's really all I use on set but it's always nice to have more colors of 1" as well as 2" J-Lar and 2" mag tape.
  7. I have a couple different bags that I keep in my kit... - Arri medium production bag to keep AKS and such in on the Magliner - CE Doctor's bag to keep other AKS and less breakable things in, usually stays on the truck - padded ditty bag, again for the cart, works great with cables and charts and such - 12" tool bag for slate, report tin, various on-set AKS and tools - 14" Husky bag for batteries, mags, cards, etc. Usually don't have all of them on one job unless it's a bigger one. The CE Doctor's and 12" tool bag are my go to bags for every job though.
  8. I think it's just a personal preference. I always do it so that it faces the lens. Don't know why, just have always done it that way.
  9. They're PL mount CP2's and we're shooting on the RED. The owner/ operator is a friend so I'll contact him and get in touch with you. Thanks!
  10. Scrims and nets won't soften your light, they will just cut down the amount of light you're getting from a unit. To soften the light you need to put some sort of diffusion in front of the light like a silk or some diff gel (250, 260, Hampshire, etc.). Also putting a Chimera on a Redhead would help.
  11. I'm 1st ACing a feature right now and we got off of an EXT night shoot (very cold out) and my lens markings are mostly off. It's a set of CP2's that we rented from an owner/ operator, and one of the lenses is off between 2"-11" and another is off by a foot. Never had to deal with this before, but I'm just wondering what I should do? Will a rental house take them in and calibrate them? I have a day off tomorrow so I'm going to try and get it solved then. Thanks!
  12. I turn the mag sideways so that the two spindles are pointing away from you instead of across your chest. It makes it easier to pull film out the throat when you're in the bag. Then I'd just hold the load side spindle and pulled the film out the throat like the book says. Just gotta get used to it.
  13. I need to pick up an iPod touch and get either pCam or Toland, but I don't know which to get. I've always used pCam before and I love it, it's very simple and accurate. I saw the ads in AC for Toland and checked it out and it seems to be a lot more powerful. I'm just not sure if it's worth the extra $10. Just want to see if people here have used both of them and what they think.
  14. Loving it! I love the look the anamorphic lenses give especially with all of the flares towards the end. What made you go anamorphic over spherical? I also really like how it stays on steadicam (?) through the whole shoot instead of going handheld when everything starts getting crazy in the end. I think a lot of other DP's (including myself) would have switched to handheld for those shots.
  15. I know the 1st AC for the last job I was on bought a Hilti before the shoot because he knew he was going to be jammed up in corners and against walls where it would be hard to get a mark from a tape since I was 2nd AC and loader so I wasn't always there to actually run the tape for him. At the end of the shoot he was really glad he had bought it.
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