Rik Andino

I like this quote... It's something that many young producers and filmmakers don't understand... But they all learn eventually...hopefully... :unsure: Anyways if you don't really want to get a jib arm... Which is the easiest and safest way to do the shot as most people have noted... The easiest rigging job is to build a contraptraption that you rachetstap to a ladder... I've done this once before in a low-budget shot. Creating a sort of right angle which you can mount the camera on side And the otherside is strap to the ladder (if you can understand my explanation) I don't know how to explain it any better and don't have a picture off hand to show you... But I'm sure if you talk to any grip with some experience they can probably make it... It'll take some time to build so again if you want easiest solution get a jib. Good Luck

Well the commercials won't tell you this... But there are some software issue with the new Intel Macs... Basically OS-X is having some problems adapting to Intel Chips (since it wasn't created for Intel machines) This is basically because Apple fears PC users will hack their programs. The problem will relate to you in that Some of the software hasn't still be updated to work on Intel chip... So you might find software out there that can't be used on Intel Macs. I think till a couple of months FCP couldn't run on the Intel Macs That has changed but there is still software out there you can't used on the Intel Macs. Eitherways if you need a Mac you need a mac... If you could afford it get the new Desktop with Intel Core Duo 2 From the specs it looks like it'll be a kickass machine.

Flagging off light and cutting off light can be to different things. So sometimes you've got to be specific for the best result. Whether you just want to scrim it... Or you actually want the light cut off at a certain degree or angle... You have to explain it well enough for your crew to understand. However by no means does this justifies the Gaffer's response You're a Commanding Officer in the crew and should be respected as such. If you order something it should be done with no arguments (within reason) If you made a mistake you'll notice it and correct it eventually. That is proper set etiquette (or protocol as I perfer to call it :) ). You make it seem like most gaffers, keys, electric, grips, and swings are heartless ladderclimbers Who'll try to bring down a cinematographer just so they can get ahead. Most techs like their jobs and don't see themselves doing much but that for the time-being However everyone wants to move up eventually, So I don't see the harm when a tech also does other things like writes or directs, produces or DPs. Most people didn't go to college to be grips or set electricians for the rest of their lives. I do understand however the frustration when techs who've been working for years Have to follow orders from some guy who doesn't know his left from his right. However most techs I've worked with are the upmost pros and know how to handle most situations They're usually the most team-oriented people on a set and can collobrate with green DPs And they rarely ever try to direct or DP. "It's not their job" as most will tell you. :) So don't think so harshly of the techs they do a tough job.

Since you're in NY Check out Du-all Camera's sale dept. http://www.duallcamera.com/ You might be able to find a Canon 7-56 for around that price... You can haggle a bit if possible. Good Luck

Arriflex made S16 conversions for the 16BL? :o That's pretty incredible to hear... Anyways you can get one of those thru-the-eye-peice video taps Saw this one on Ebay...for tha Arri 2C might work for the 16BL (I dunno) http://cgi.ebay.com/MAZILVIEW-VIDEO-TAP-ar...1QQcmdZViewItem It's very difficult I dunno if they can make a tap like the CP16R has... Or something that'll allow you to use the eye-peice and the tap at the same time... If it can be done I'm sure it'll be costly. Good Luck

How the hell did a thread In Memoriam to Steve Irwin Convert into a couple of idiots attacking eachother with internet statistics? You people are ridiculous and should be ashamed. :angry:

Some stingray's stinger have been known to peirce through a wooden boat. They can be from 6-12inches long and razor-sharp... So I think no-matter what he was wearing (short of mail-suit of armor) he would've been stung. It was an accident...and we shouldn't be so hasty to judge whether he deserved it or not... because accidents happen to all of us. We should just learn from it and take a little caution when doing dangerous stunts. Most of us are human (I hope ;) ) and sometimes we make mistakes... Usually we can walk away from our mistakes but some people don't So let's give a little slack here (cause it could happen to us next). & especially right now show some respect for Mr. Irwin and his family. He deserves it. The truth is people die everyday and it's usually not their fault.

Tshaka is a well known grip in the NYC area... And he only recognized by that one name... Everyone knows who we're talking about when that name pops out No-one I've heard speak of him ever uses his last name... There are many folks out here in the East Coast that go by one name So sometime we have to be aware that everyone isn't a normal first and last name kinda person.

The Labor-Day Weekend is a very busy weekend to be shooting guerrilla in the subways... If you must shoot--stay away from Manhattan as much as you can. As for the flourescent lights, they can flicker depending on the ballast and your framerate... You're shooting vid so like someone mentioned you can see on the monitor the effects. You can bring some battery powered lights to augment the lighting or some bounce-boards... But if you're looking to stay guerrilla the lest the better. Most of the lighting will be top lighting so be aware of this. Bring somethings to create negative fill if you're looking for a contrasty image. Most important to note is to be quick & alert if you waste time you may be caught. Some police officers may let you slide but some may not--so you should avoid getting caught. Good Luck John getting a film permit from the MTA is difficult and expensive. That is why most low-budget filmmmakers shoot in the subways guerrilla style. Getting a permit from the MTA can take a month and can cost over $2000 a day.

Well if you want to build one go right ahead... Don't ask us for our advice if you've already made-up your mind. God and make one and good luck. Personally I find it mostly useless... It's not sturdy enough for a real film or video camera It's just good for prosumer cams which you can usually handhold in any manner. So you'll rarely find the need for such a gadget... Except for special shots that come every now&then. Good Luck

Why not just use a menace arm? It's a pretty easy rig and is sturdy and very compact.

I'd also be wary of an Aaton with such a low serial number... My Aaton is old but this one is even older than mine... Old Aaton are not always good things.

The K3 is a good camera to learn...especially for teenagers... It has everything you need and is relatively simple operation. Just make sure you inspect everything before you buy... Cameras like cars are one of those things you can't tell if they work by looking at a picture. I learned filmmaking with the K3s and the Bolexes... As did many people in the film industry right now. When you're ready you can upgrade to better equipment. Good Luck

Most people who haven't worked on films. Grips are the back-bone of most productions.

It doesn't matter what we use...what matter is which one is the best for you. The Sekonic Dual Meters are very popular and they're very good I'd had one for 6 years now... If you're accustomed to using them and like the use and feel of the Sekonic Dual Meters... Then I suggest you should go with that. If you're not too keen on the Sekonic meters then test out a few others before buying. Meters are just like cars they all pretty much do the same thing... You just gotta find the one that you like to handle. Good Luck

They were more likely there to see Orlando Bloom. Depp isn't as big of a sex symbol as he used to be... That's what makes him such an interesting actor to watch on screen. It wasn't garbage. It was fun and I enjoyed it...(& so did many other people in America) I won't called it completely memorable or the greatest movie ever But it was worth my ten bucks. And that's all that really matters ultimately. My god you people would be the kind of folks who go to a flea-circus & complain that is not really real fleas. We all work in the entertainment industry so give your fellow filmmakers some slack.

I don't really know if they make 26mm cameras... :) Sounds like a phony format to me. Seriously though with the quick edit option on you can quickly check your mistakes & then go back to fix them. It doesn't take that much effort. Are you're asking us questions for a survey on pin-registered cams? Cause that's what this sounds like. Tell us you're problem or situation and you're specific needs So we can better answer your question.

You're quite right about that. Also Nathan did mod his Arri SB--before he sold it... I shot some B footage for a short with it It was (or is) a pretty damn good camera. You should ask him what and how he did it It seem pretty simple mods of course anything is simple to a camera tech. Anyways that's enough forum member gossip... B)

You think that's bad... You should talk to the people who make our sneakers. :o

I think you're missing the point... Both Cameras are really good...and pretty much the same So whichever one you choose you'll have a good DV camera. The great images will not be made by the camera ultimately... But actually by you--it's your skill that matters. Just like driving a car... Doesn't matter if you have a ferrari if you can't drive well you'll still suck... Both cameras do 24p, 30p and 60i shooting... And they do it well. Both cameras have gamma controls, and knee and black level adjustment... Which means you can control the image in-camera... However like many have stated it's better to control the image in post... But if you choose to control the image in-camera the DVX100b is slightly better for that... However it's just a slight improvement not much to write home about. Both cameras do a version of 16x9--widescreen shooting The XL2 inches pass the DVX100b in this category... But again it's only a slight improvement...nothing to write home about (yadda yadd)... Both cameras have very decent sound systems... The DVX100 allows for a mix between on camera mic and outside sources But the XL2 has more controls for audio plug-ins However they're pretty much the same. Both cameras have a pretty decent lens However the XL2's lens does win on the long side... And there are more lens options for the XL2 but this will cost you $$. Finally both cameras differ in their design and ergonomics... So I would suggest you test run both cameras to see which design best fits you.. Their design is the biggest difference between cameras... So to effectively judge which camera is the best for you You got to see which one feels good to your hands And which controls you're more comfortable with...and which menu is more user-friendly to you... Anyways like I mentioned before your skill will be the deciding factor on how good your image are So pick the camera that best suits your needs and use it well. Good Luck

Du-Art's film lab is very good. I don't have thier info on-hand...but you can google them. Good Luck

The short answer is yes... But the truth is you'll have to spend months searching... Since most dealers that sell S-16 zooms list them over 6grand... They might make deals but I'm not sure you'd have to talk them. So it means you'd have to buy yours from a private dealer (someone selling off they're gear) Which means months of searching mandy, or indiewire, ads, and ebay... You can probably find a converted Zeiss 10-100 for around that price... As well as the converted Cooke 10.8-60 Both good glasses definitely better than the Ang. If you wait long enough you could find a Canon 8-64 around 5grand... A very good zoom lens that usually retail around 8grand... They pop up on ebay from time to time around that price. Just gotta go searching. BTW: I think Hans is right you should keep both your sync-sound packages... But you might net more money selling off your NPR & you'll probably need all the cash you can get for for your S16 lens. Anyways Good Luck

As far as I know those are the only three adapters for the Aaton Mount... Aaton to Arri-B Aaton to Arri-PL Aaton to Nikon F There might be some others but they're probably extremely rare.

I concur JR Lighting is very good... I shot something in Vegas last month and that's whom we rented... They we very helpful and cordial even with our last minute order. And they even provided us a grip to help manage the truck. Anyways that's it.

You've gotten many really bad misconceptions about the XL2 1) it does shoot 24p and has a real progressive chip just like the DVX100a,b or whatever These are the only two MiniDV cameras that do 24p... You might have confused the XL2 for the XL-H1 which only shoots in 1080i and no progressive format. 2) The shutter speed is as good and better than the DVX100a, you can go from 1/24 to 1/15,000 3)And yes you can adjust the gamma curves however the DVX100 has better gamma controls Although I would probably do this in post with better software than both cameras have. If you want to use a 20x zoom lens the XL2 is your best choice If you're shooting with an M2 adapter or another of those film lens add-ons Then perhaps you don't need to worry about which camera... You can mount any type of lens onto that adapter. Both of these cameras yeild pretty much the same image... So I wouldn't break my neckl trying to figure out which one is better they're pretty much the same. However I don't know why you don't get a newer HDV camera Since MiniDV isn't as requested now as it used to be (although still useful). Eitherways Good Luck