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Scott Dolan

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Posts posted by Scott Dolan

  1. Hi All,

    Selling Cmotion Pro Cvolution system:

    • Camin 3M (lemo)
    • 1 x Cvolution Hand unit w/ advanced focus knob, iris slider and zoom unit
    • 1 x Cvolution Hand unit w/ focus knob only
    • 3 x CLM-4 motors w/ 5 x Lemo motor cables and 3 x Fischer motor cables
    • 2 x Cforce mini motors w/ multiple Lbus cables
    • Multiple power cables, Cbus cables, Cinetape + Sniper interface cables
    • Custom flight case
    • Multiple brackets, mounting options, antennas
    • 3 x pre-engraved discs (imp.)
    • 10 x blank discs, 2 x blank magnetic iris strips
    • Neck strap (quick release)
    • 4 x hand unit batteries + charger
    • 2.4Ghz signal booster (w/ 2-pin lemo power cable and 2-pin loop through)

    Please contact for pictures.

    Asking 15,000 USD for the lot.

    Buyer pays shipping from Australia.




  2. On 9/5/2019 at 11:03 AM, Cory Stambler said:

    Hi Scott,

    What does the custom brackets look like?

    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.








  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 5,000USD for everything + shipping.

  4. 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.

  5. Don't use filters unless you absolutely have to- especially any fx/ diffusion or anything like that!


    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. Does anyone know if Schneider or Tiffen have made filters large enough to cover those big 3d rigs? It would seem like having 2 filters wouldn't be an option unless you put them behind the lens.



    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. If it only happens with the remote, it's a pretty good bet that the culprit is the remote, rather than the Alexa.






    -- J.S.



    True, a fair assumption.

    But the 'white' clips are very mysterious.

    If anyone else has seen this, please let me know.


  9. 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. Depth of field is a physical effect which cannot be changed by lens design. Aspherical elements are just a technology to widen possibilities in optical design (smaller, better correction...). Although sharper lenses show a stronger subjective "drop" in sharpness from in-focus to out-of-focus areas.


    Hence why I used the term "perceived"...

    Shoot tests and see for yourself.

  11. Hello Everyone,


    I just joined this forum and this is my first posting. Please forgive my mistakes.


    I am a cinematographer, working in Bangladesh. I came to USA three days ago to buy a camera package and set of lenses. I am little confused about the lenses. I need your suggestions. Please help.


    I have two options:


    Option 01 : A set of superspeed MKIII lenses. 18-24-35-50-85 mm . Total 5 lenses. They are USED but in a very good condition. T 1.3

    Price is $44,500


    Option 02: A set of brand new ULTRA prime lenses. 16-24-32-50-85 mm. T 1.9

    Price is approx. $60,000




    I spoke to a very experienced lens expert here. He told me that Ultra primes and Superspeeds are exactly same optically. They produce the same quality of image. Only difference is the housing.


    I thought Ultra prime would produce better quality since they came after superspeed.


    I am very confused. I want to know which set of lens I should purchase.


    I would really appreciate if you please let me know your opinions.


    Best Regards,


    Rashed Zaman


    ( how do I get in touch with Mr. David Mullen? I really need his suggestions)


    Read more: http://www.cinematography.com/index.php?showtopic=48458#ixzz11e71LuOZ


    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.

  12. Are you insane? You want motorised vertical alignment? How much vodka have you been drinking?


    I would like to make it clear I am completely unqualified in any way as any kind of Stereoptician.



    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

  13. Scott,


    Maybe your not clear on what 'goofy' operating is, so let me take the time seeing this is not the steadicam forum where I actually thought I had posted. Goofy, comes from a surfing term (I don't surf nor really know much about surfing) of someone that puts the opposite foot forward than the 'normal' guys. So, a steadicam operator that flies goofy, will fly the rig on his right side, rather than on the left side of the body.


    How this relates to the rig? In order for the [steadicam] operator to have a clear view of the steadicam monitor, the top [horizontal] camera should move towards the right (by default making it the right eye) while increasing IO in order to have visual clearance to our steadicam monitor below. If the bottom [vertical] camera is towards the right, this will obstruct the steadicams monitor and cause hardship for the operator to frame properly.


    So, the goofy guys will want the top camera to move towards the left (by default making it the left eye) so that the bottom camera will not obstruct their view of the steadicam monitor.


    A very simple and clear design feature thinking about the ones that are different from the rest of us. I too had questioned why Philippe would do such a thing and then he showed me exactly what I described to you.


    Now, your personal attack seems a bit rude. I've personally followed 3D for a few years before the big uproar and then studied an entire week with Paul Taylor at the first Maine workshop on Stereography along with Doug Hart and many other VERY enthused people on the subject of 3D. We even had a neurophysicist that came from Sweden just because he is excited about 3D as a hobby.


    I totally agree, that bad stereoscopic acquisition is pointless and that is why I am excited for Philippe's rig and just asked Chris at ZGC for a quote, because it is a good solid rig with a lot of thought into it for acquisition on dolly, hand held or steadicam and not just a flyby night rig made by someone that has never operated a camera, much less a steadicam.... Philippe is an operator!


    Apology in order and accepted




    BTW, that is also why there should be a stereographer onset and not this post crap.




    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.

  14. changing the I/O in the manor of the Freestyle does not affect your stereo viewing in any way... same as if it where typical or side-side.

    The cameras will crossover to what you are calling negative stereo, this is designed that way by Philippe to accommodate the operators that fly goofy. Mainly for the ability to view the monitor, thats it.

    Have not viewed on Real D system, that of course has no relation to acquisition nor operation.



    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.

  15. 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.

  16. Neither unless you know how to properly calibrate them... same goes for a monitor. Use Zebras and Histogram functions to check for luminance; as for colors, you need a proper calibrated monitor and viewing environment to judge and/or experience. The Finder or an LCD on your camera ain't gonna really cut it, not will a great many of the LCDs on the market. You really want a nice CRT monitor or a high end professional LCD monitor which both cost a pretty penny and you need to make sure you set it to bars.

    Your other option is a vectrascope, but those are normally more expensive to rent and harder to translate than a good field monitor.




    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!

  17. Hi Scott, I'm just trying to update myself as it's been a few years since I was behind a 3D camera. I'm currently looking to find the best image quality in the most compact camera system. I have experience using the Panavision/Sony 3D camera - seven years ago I used that system on a 3D Imax shoot "Ghosts of the Abyss" and that was a relatively large system with cables everywhere.


    A few producers are asking for equipment quotes to shoot in 3D and I'm hoping to find some info in these forums. I feel that I'm in the right place for that.



    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.


  18. 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.



  19. Crickey! I just signed up and viewed this topic thinking it was about 3D equipment. I may be way off the mark, but it appears it's actually a thread showcasing someone's comic book artistry.


    Where can I find the area of the forum that offers useful advice on 3D camera equipment?



    Pete, what advice are you after in particular?

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