Stuart Brereton

I didn’t even know the F900 could do Log. Last time I used one was about 100 years ago ?

I would have thought that any form of Log on an 8 bit, 3:1:1 camera was a bad idea.

The F55 is a far superior camera to the FS7. Neither camera records Pro Res without upgrades.

That looks like veiling glare from a large, bright source. It often happens when you have bright windows in frame, or just out of frame. I would try using some kind of soft source, just above the frame. You’ll probably need to experiment with the position to get the effect you want. Your choice of lens will be a big factor as well, as most modern lens are deliberately coated to reduce flare of this kind.

Rags are generally kept in their own drawstring sacks, which are clearly labeled and stacked up on a shelf on the grip truck. I’ve never seen or needed a more complicated system.

The gears are so that the lenses can be used with a follow focus. I’ve used the Rokinons once or twice. I’ve never thought of them as being much larger than a stills lens. Certainly, compared to a master prime or an S4 they are tiny.

The blowup process itself would have been enough to soften the look of Master Primes. A s16 to 35mm blowup is a 4x enlargement. That’s a considerable increase in grain. No wonder you’re seeing additional texture.

I don’t know that they’re on top of each other for any reason other than just to get them very close together. This happens all the time when you have multiple cameras for coverage and you need to get them close to the actor’s eyelines.

How about something like this? Document tube Not exactly a soft case, but a great deal lighter than a flight case. Otherwise, maybe something like an ice hockey stick bag would work.

?

Maybe. I just prefer the surprise to be, well, a surprise.

But once you know there’s a twist, you start to watch the movie in a different way, looking for clues...

Only that there was a twist.... ?

This is lovely, Uli. Was it written by the same Michael Marshall Smith that wrote Only Forward, and Spares?

Perhaps best not to mention there's a twist, Robin....

That’s just a threaded plate bolted onto a flight case. Any machine shop should be able to make that for you. Another alternative would be something like this: https://modernstudio.com/products/flat-screen-monitor-mount-swivel-junior-baby-vesa-100x100

El Mirage is favorite for LA based production. It’s about an hour and a half outside of LA, in Mojave.

You could try an 82A filter on the camera. It’s not a full correction, but it would help to ‘cool down’ the tungsten lamps, and it only requires a 1/3 stop compensation.

If you’re using Kodak Portra, you’ll find it’s very flexible with regards to color temperature. Lomography 800, which is rebadged Kodak Gold 800, should be ok also. If you really want a tungsten balanced stock, try the Cinestill 800, which is Kodak 500T with the rem jet removed. It’s expensive, and I’ve heard varying reports about the quality control (not Kodak’s, but Cinestill), but it might suit.

If by ‘free drive’ you mean that the actors will actually driving the car, then a hood mount from a straight on position is extremely ill advised from a safety point of view. Your actor, who will already be splitting their attention between acting and driving, will not be able to see where they are going. I’d guess that this would probably be both uninsurable and illegal.

Ah, the new philatelic forum we’ve all been requesting.

Steel Green is just a name, so there’s no reason why the LEE and Rosco versions would be identical. As for which one to use, which one do you prefer?

You may find some minor differences due to differing firmware, and of course the Classic is not capable of the same resolution as the Mini, but if you’re using the same Arri LUT on both cameras you shouldn’t have any problems that can’t be fixed in color timing.

Rental houses do not just cater to studio pictures and TV shows. They derive a substantial part of their income from independent film, shorts, and micro budgeted movies. This is precisely the area where owner/operators have driven rates downwards, sometimes offering complete packages for a few hundred dollars a day. In combination with other pressures facing the industry, this has caused a number of rental houses to go out of business, and others to endure some very tough times indeed. I have personal experience of three different films in the last 2 years where owner/operators had undercut the rental houses to put their own gear on the job, and left us to deal with a sub standard package that was not fit for purpose.

This is the problem that rental houses have been facing almost since the beginning of the digital era. Owner/operators buying gear at used rates and then undercutting rental houses has gutted the rental market, and driven rates downwards. its worth remembering, though, that while cameras might be very cheap to buy used, accessories tend to hold their value. That $3000 Red Dragon on eBay may well need another $30000 spent on it to make a professional package, and then you still need lenses.