Jump to content

Scott Dolan

Basic Member
  • Content Count

    47
  • Joined

  • Last visited

Everything posted by Scott Dolan

  1. Hi Cory, I found the standard Sniper pan bracket has too much play or wobble and pushes the sensor array up too high from the lens, so I had a solid low profile piece made without the pan gearing. Also included in the kit is an original pan bracket with gearing. See photo attached. Cheers, Scott
  2. Ward's Sniper MkIII Pro package Recently refurbished and serviced at Focus Technologies LLC. May 2019. New updated RF modules and sensor housing fitted. 1000' range, 3 x FOV lenses. No scratches, some cosmetic scuffing on display. Perfect working condition. Kit Includes: - Mark 3 Sniper Infrared Laser Assembly- Display (Wireless/Wired) - Pan Bracket - Custom flat bracket - Sniper Arm Assembly - Smoke Iris Assembly - 4 Bank 9V Battery Charger with 4 Batteries (700mAh) - Xylons: 17 degree, 5 degree, Optical Flat - Sniper display Cable - Custom Pelican Case - D-tap Power cable - 3-pin RS power cable Currently 8,600USD new, excluding power cables, custom brackets, shipping and taxes. Asking 5,000USD for everything + shipping. Cheers, Scott
  3. Ward's Sniper MkIII Pro package Recently refurbished and serviced at Focus Technologies LLC. May 2019. New updated RF modules and sensor housing fitted. 1000' range, 3 x FOV lenses. No scratches, some cosmetic scuffing on display. Perfect working condition. Kit Includes: - Mark 3 Sniper Infrared Laser Assembly- Display (Wireless/Wired) - Pan Bracket - Custom flat bracket - Sniper Arm Assembly - Smoke Iris Assembly - 4 Bank 9V Battery Charger with 4 Batteries (700mAh) - Xylons: 17 degree, 5 degree, Optical Flat - Sniper display Cable - Custom Pelican Case - D-tap Power cable - 3-pin RS power cable Currently 8,600USD new, excluding power cables, custom brackets, shipping and taxes. Asking 7,000USD for everything + shipping. Located in Australia, will ship International. Cheers, SD
  4. Hi All, If any of you have or know of a DM1, DM1x or DM2 for sale I would love to chat with you. Cheers :)
  5. Scott Dolan

    3d and Filters

    What issues have you had exactly? When you are rating the camera at 400ASA and shooting in full sun, filters are a must. The ND1.5's worked perfectly on the front of each lens, no dramas whatsoever.
  6. Scott Dolan

    3d and Filters

    I've just finished a movie shooting with Qasar rigs running Red One's. We just attached a PSR sized filter tray with circular clap-on ring to the front of each lens. ez :)
  7. Hi Jamie, I did a job a few weeks back on Alexa recording log-C 444 to SRW-1. The deck we used had a LUT installed (I think it was a D-21 Rec709 LUT) that output an image very close to the Rec709 output on the Alexa. This was not perfect but gave us another output to use for Client monitors etc. instead of daisy-chaining all across the universe, which helped as this particular shoot was 90% hand-held. It wont be long before an Alexa Rec709 LUT is released for the SRW-1. I'm not exactly sure of the process for installing them onto the deck (something involving a Sony formatted memory stick into the side of the controller), but I know you can store up to four different LUT's on a SRW-1 device. However this LUT-applied output is only possible when recording 444 SQ/HQ. So when you drop down to 422 for overcranking, you will only get the Log-C image. Hope this helps.
  8. True, a fair assumption. But the 'white' clips are very mysterious. If anyone else has seen this, please let me know. Cheers
  9. Scott Dolan

    Alexa teething

    The other day we had some dud clips appear with a data transfer from an SxS card. There were 4 clips in succession, all around 3 to 5 seconds in length with nothing but white frames. The clips before and after were all fine, and no footage was missing from what we shot. Also we were getting an irregular problem while using a BFD system powered from camera and using remote run. Occasionally the camera would cut by itself, after having been rolled by the hand unit. This happened maybe five times over three days. We never had this problem if the camera was rolled via camera body. This is the first time I've seen such issues with the Alexa after half a dozen or so jobs. Anyone else had similar problems or know anything about the mystery clips? :huh:
  10. Hey Guys, Anyone have a Cinetape laying around they would want to part with? Let me know ;)
  11. Hence why I used the term "perceived"... Shoot tests and see for yourself.
  12. Anyone selling a Cinetape system? Would love to hear from you. Cheers.
  13. Hi Mate, Your Lens Expert is not entirely correct. Ultra's have aspherical elements which give you a shallower depth of field and perceived sharper image. Also much more user friendly. Good luck.
  14. Thomas, good to hear from you. Vodka, no. Scotch, maybe ;) To answer your question... The ability to adjust vertical alignment on the fly is actually very useful. If you've worked with 3D rigs you will know that from time to time you get vertical shift during takes. For example during 90 degree tilt downs or if the camera takes a bump. It is much better to be able to correct this on the fly and continue with the shot. Especially when shooting multi-cameras. Call me crazy, but flexibility and readiness to adapt to any situation is a huge bonus. As for the negative IO business... you have answered my initial question perfectly, thank you. Indeed swapping the eyes over in shot would not be possible, and this was what perplexed me. But I can certainly see how having the capability to swap sides for a particular shot would be advantageous. Cheers & take care :D
  15. Alfeo, I'm not sure why you are going on about the goofy thing. I never mentioned that once or questioned the logic behind it. It made sense to me right from your original post. I'm a bit confused by your in-depth explanation of this?? Next, my question was certainly not a personal attack. It was a fair question, and judging by your evasion I'm guessing the answer is "no". I'm just trying to guage if you really understand what I am talking about. If you had seen neg stereo projected on a proper system you would agree that having the cameras cross over is very bad idea. Anyway, I'm not here for an arguement. I will apologise for the fact that you took my inquisition the wrong way, but thats it. This will be my final post on the topic. Take care, and good luck.
  16. Have you ever viewed stereoscopic images that have crossed-over into negative stereo? Its all well and good to run around with a rig that flys well and works from a mechanical viewpoint, but bad stereoscopic aquisition is pointless. 3D will not last if people continue to create films with eye-ripping stereo. Regardless of how hard Producers and 3DTV manufacturers push, it needs to be done well or not at all.
  17. The other day I was on a job with two RedOne's with MX upgrade running build 30.5 We had codec errors when running at 3K 50fps. The cameras would cut recording in the middle of a take for no apparent reason. It was happening intermittently and was not related to any one drive, CF card or cable combination. When we dropped down to RC28 we were getting longer takes before it cut but it was still happening. Dropped it down to 40fps RC36 and it was fine. 4K 25fps & 30fps was fine too. Didn't get a chance to test 2K 100fps. Anyone had similar issues? Apart from that I was very impressed with the images from the new sensor. Shooting in low light with MP's was very pleasing :lol: A must have for those of you holding onto your RedOne.
  18. Why do you need such a monitor? Maybe a waveform is helpful with HD, but really you should learn your sensor the same way you learn your stocks, and expose off a meter. The Art of Cinematography shall not die!
  19. You guys are way harsh. Perhaps you should speak with some of the camera team who worked with Mauro in New Zealand. Just a suggestion.
  20. Pieter, my experience at this stage is primarily with the Pace HD 3D systems (side-by-side and beamsplitters). These systems are still tethered but only by a single fiber cable. Lately I've been looking into the Element Technica Qasar rigs for another movie shooting later this year. From what I've seen so far they are a big improvement. They use 2 x RedOne's but are capable of running other bodies. The advantage of these is their solid frame, resulting in less alignment issues. I have not had a chance to look into the brains of this system yet, which is ofcourse the clincher for workability on set. The Pace systems have a developed and tested network that controls all 6 camera variables (I/O, convergence, mirror, zoom, focus, iris). I'm working away for the next three weeks but when I get back to sydney I'll be able to shed some more light on the E.T. system. Hope this helps. Cheers.
  21. Very interesting rig. Not sure how it would go with larger cameras though. Both cameras moving to balance out each other when adjusting I/O is all well and good for the Operator, but how does this view stereoscopically? In the footage it appears as though the cameras are crossing over and going into neg stereo. Have you viewed the images on a Real D system? How difficult is it to align verticals and zoom offsets? Do you have control of the vertical alignment on the fly? (ie: adjustable mirror) What happens to the balance when you converge? Very keen to see it fly with Reds and some real lenses. Cheers
  22. Pete, what advice are you after in particular?
  23. ***spoiler alert*** Very true. All of these things plus the purposeful use of green screen and non-interactive lighting in otherwise simple shooting environments, was just brilliant in sub-conciously taking the viewer into a world that's not quite right. I sat there for most of the film thinking "why the hell did they shoot that on green screen". Simple interiors were even done this way. And it all made sense in the end. Bravo Scorsese/Richardson, bravo.
×
×
  • Create New...