Rik Andino

This should be common knowledge for any car rig! And rig that's moving should have ratchet straps. I cant see any grip Ive worked with doing it differently.

I own an LTR-X and I can tell you that they're very rare. Tim is right based on the serial number the camera you're looking at is an LTR 7. Which if that is the case would not be that desirable. The LTR -X is a hybrid that lays between the LTR-54 with and XTR It is usually an LTR-54 with an XTR motor and other XTR features But usually not the XTR mag drive or LCD display. They usually started with serial numbers around 1180 to 1290. So there are only a little more than 100 LTR-X available. Like Tim mention the LTR-7 is an inferior camera. They were mainly prototype models with no standard production model, The camera's mechanics were often changed throughout the production run That cameras differ drasticly from each other--so you'll find parts rare and adding accesories like a video-tap impossible or extremely expensive. And if you're looking to do repairs be prepare to pay (if you can even get them done.) So you can see why most people are hesistant in buying an LTR7 However for $3200US you wont find that many Aatons at that price. Youll have to spend closer to $4000US (€3100)for a LTR-54 (& one is good shape will cost you even more like $5000US/(€3900.) Right now I've been trying to sell mine LTR-X around $8000US... so that's what you should expect for a good Aaton camera package. If you're on a budget and camera does everything you need--and you need it --well get it. But you should be aware the S16 format is dying and cameras are getting harder to sell. And if youre not a prolific cinematographer who shoots S16 regularly... You might be stuck with an expensive relic that you'll rarely use. I recommend you seriously analyze your need for a S16 camera And then if you realize you need a S16 camera--carefully research Aaton cameras. Spend time to find the best camera for you and the most reasonable price. Usually most people find they're better off renting than buying. Whatever you decide to do--Good Luck.

That's a good one Rob... :lol: I like to add the two important things Follow instructions & don't be afraid of making first time mistakes (it's a learning process) As for tools the most common for grips are Gloves Knife (a good utility knife is best) Wrench Tape measure Small Level the rest you'll get as you need. Anyways Richard you've been on the show for a over week now How is the project going?

These are my sentiments exactly... I see all these question that pertain to camera or lighting ask in the grip section And it boggles me that people don't understand what grips do. Grips handle light stands, clamps & hardware, dollies, and flags, and car rigs... And most anything else that needs rigging But we don't do camera tripods, tie-ins, lighting boards or dimmers.... We don't handle make-up and script changes either. But what's the point of ranting... Next week there'll be someone on this forum asking for help digitizing footage to FCP. :blink:

Well last year walking around the 9th Ward in New Orleans LA I felt like I was in a post-apocalyptic wasteland... I heard it's still pretty messed up...maybe you can shoot down there. Although it's very sad when you realize these were people homes... & it's been 3 years since the flood & hurricane and that area is still not recovered.

Safety in Condors is extremely important. It's not something for the inexperienced. Mike Nash & Rob Duke pretty much hit the nail on the head. Rigging on a condor is not that complicated you just must always makes sure of three things 1) that everything is safe and secured 2) that you don't exceed the weight limit 3) that everything is properly set up for the shot cause tweaking with a condor is a long overdrawn complicated process. Anyways learn from a "trained" ;) professional (mostly someone who's done it several times before) It's not legal for most of us to do many of the things we do on set... So I can;t really advice much else about several things like rigging a condor But all I can say is try to learn from the best person you can.

So does anybody know much about this format? Is it actually better than HDV I'm seeing lots of good consumer video cams that shoot on this format... I'm wondering how good is it actually, and what are the hang-ups It is worth it to shoot into harddrives or flash cards like most of the Panasonic AVCHD cameras do? Anyways any info would help me, I couldn't find much on wikipedia. Thanks

When I was in film school I used a skateboard dolly with PVC pipes are track Sometimes we used a wheelchair for better mobility That's how we learn how to create dolly shots... However I've been gripping for several years now and I almost only use a JL Fischer 11 or 10 Sometimes I see a Chapman PeeWee or older hydraulics dolly But rarerly ever do we work with a skateboard dolly. In the professional set the standard is the Fischer. (Which conicidentally aren't sold but leased to companies like a car, contact Fischer to see their rates) However it's important to learn what the purpose of a dolly and the shot is for... If I haven't learn on a skateboard and wheelchair dolly and consequently older hydraulic dollies I wouldn't be a better grip for it. My experience with different forms of equipment helped honed my skills and taught me the importance of problem solving (an invaluable set skill for a grip) & helped me to know what to do when I finally got to handle better equipment. Consequently you have to ask yourself are you teaching your student to become grips or filmmakers If you are teaching them how to be a grip than yes getting a hydraulic dolly will be very beneficial But if they want to become filmmakers the benefit of a hydraulic dolly isn't that important there's other skills they can be learning. So don't worry about not having the best dolly available you're students will eventually learn to use them when necessary. Good Luck

Pledge is usually the most common use lubricant on dolly tracks and wheels It is easy to get not very expensive and doesn't leave a mess like baby powder I'm unsure if gunks up the wheels...but them again most grips don't repair dollies we just operate them. ;) I say let he rental companies worry about their dolly's wheels...and use the quick solution. Quick solutions are usually most perferably onset even though they'll cost you later on. It's craxy I know but that's the business.

I really like MSE stuff like other people have said... Avenger stands can be tricky to handle their legs don't properly lock into place But Avenger makes good heads and arms I find them very sturdy and good to grip... Most of the stuff I use from American C-stands is old and beat up...so I dunno what to say. If you can get MSE stuff in Europe use it, if not Avenger and Matthews is the way to go. Good Luck

You're talking about rocknroll PARs right? (They're call rocknroll PARs cause they're use alot in clubs & venue lighting) Well they're alright on stands but I find them usually woobly, just like Lekos You have to put the TVMP adapter on very tight (but usually it's not tight enough) The light tends to sway and swivel slightly on the stand although it's on tight enough with no danger of falling. Other than that minor inconvieniance PAR cans are pretty cool And very popular on sets because of they're cheap to rent and provide a very spotty beam.

The SR3 does have an 800' mag...it's a massive monstrosity. However I must say: A month back I did some handheld with the XTR w/800' mag It wasn't as horrible as I expected, it balanced the camera quite well. It is as heavy as a Arri 16BL but doesn't feel that way. Those Aaton ergonomics are great! However the Arri SR3 isn't as ergonimically designed as the Aaton. Anyways not trying to knock the SR3, it's a good camera.

I just saw it... And didn't know some of it was shot with the Genesis I thought some of the survilance video was a bit off But that seemed intentional and it did work with the story. As for the average joe...my friends liked the film and thought it was fine. They didn't notice any problems and most other people in the audience seemed to have a good time. Seriously sometimes you guys just go beyond reason... Enjoy a movie once in awhile we don't have to break it apart always (there's a time for work and a time for......) Anyways I liked the film it was good way better than undefined

S16 is a great format to shoot particular if you're doing indie and guerrilla stuff You can shoot guerilla in 35mm also but it's easier in S16 and cheaper. As for going to a DVD S16 looks great The only thing you would wantfrom 35mm is the shorter depth of field But S16mm is still a great format if you know how to use it. Good Luck

Stealing a Panavision camera or any serious film camera for that matter Is like stealing the Hope Diamond or the Mona Lisa. Not much you can do with it after you have it. And posting it on Ebay is like rapist or killer posting a video of their crime Just further concrete evidence. You have to be a pretty clever thief to steal a camera off the set... And then turn into pretty stupid person to go and post it on ebay. However that insurance scam could work.

With all that you're saying about this camera Why would anyone wanna shoot with it? An SR3 or XTRProd sound like way better options. Are Primos that much better than Zeiss glass to warrant the use of this camera?

No the graphics card won't be able to handle it all. Laptops aren't really the best machines for editing... You'll really need to get a Mac desktop and then a really good graphics card And lots of harddrive space to properly work with 1080i. You'll soon see why people say "HD isn't a cheap format to work in." Good Luck

What the hell are you saying? :blink: I know you're not a natural Enlgish speaker... But please try to learn how to properly communicate yourself with Americans. If I were talking to Italians I'd try to properly conjugate verbs in Italian. Maybe you should've took the $1000 you used to reserve your REDone cam And took some English classes instead. No offense but most of your post are jibberish, capice.

I dunno about The DVXuser forum (gosh what a great name for a forum :rolleyes: ) But here in Cinematography.com Forum you're required to use your real name no net aliases. So I recommend you change it or else risk having Tim boot you out. Second--Red is a camera not a religion please don't treat it as such. This is a very sensible post and I agree... Although I will say it's not boring--ridiculous & unproductive...yes But it's never boring watching idiots insult each other It's like kangaroo boxing matches. :D

So are you getting this camera only because you love gadgets or are you an actual shooter. Most working filmmakers don't have a year to wait for a camera to shoot their film. There are many formats and cameras out there that are affordable for indie filmmakers to use. It seems most of these red supporters aren't serious filmmakers They're just amatuers waiting for this camera to come out so they can shoot their 4k opus. Good Luck (the rest will continue shooting with what's available now)

If you only have $600 bucks to spend get a Bolex or a K3 You'll be hard press to find something better than that for that price. In fact you probably can't even find a really good Bolex for less than a $1000. Usually Arri 16S cost around 1500-3000 depending on their condition, mods, and accessories. So you should save until you can afford one or start looking for a cheaper camera A good K3 can be a steal at under $300. (It's good camera for amatuers and beginingners.) Eitherways you should read up on 16mm cameras and learn all you can before buying... Good Luck

I check the Visual Products website & so far they're still offering services and conversions on the CP16. There is also no bullentin anywhere informing people That they'll discontinue those service. I'm not calling you a liar...but...

Who's the director? I mean the cinematographer is important--but so is the director and the lead actors.

This is why Powerbooks & any other notebook computer Aren't viable options for a profesional HD post workflow. You're dealing with serious data and you're going to have to get a serious machine. The new Mac Pro Desktop is a good start & some high-end PC are excellent for handling uncompressed HD footage. You're gonna have to realize what most pros already know Working with uncompressed HD is serious business and requires serious equipment All of which means you have to spend alot more money. HDV is perfectly find format to work and learn on... When you can afford it you can upgrade to the better HD format. Good Luck

Before you go out and invest on a 16mm camera I suggest you take a little bit of time to learn about shooting film And specifically learn a little bit more about 16mm cameras. Shooting 16mm film isn't complicated but it helps to have a bit on knowledge on the subject Before you invest all your money into it. Shooting film is expensive enough & you don't want to make unecessary costly mistakes. If you're looking for a camera to learn filmmaking on the K-3 or the Bolex are both very good choices... The Arri-S is also a good choice expect a little more expensive to own. However if you're looking for a camera to shoot a low-budget short of feature Then you have to start looking at better cameras-- Because all three cameras aren't going to cut it when it comes to pro-synch sound shooting. At the low end you'll find cameras such as the aforementioned Kinor or CP16 Also cameras like the Arri 16BL and the Eclair NPR... if you have a little more money you can get an Eclair ACL or an older Aaton or Arri SR. Which are very good cameras for professional synch sound shooting. It takes time to learn which cameras are useful And which you shouldn't waste your money on. So I suggest you buy a few books and read up on 16mm cameras Before you start spending you hard-earned cash. Good Luck