John Waterman

Thanks guys. I was figuring out what power cables I needed to order for my cinetape. :)

Hi all, I am wondering if anyone knows if the 12v and 24v accessory power output connectors on the Sony f23 and f35 are Arri standard fisher connectors and pin-outs. I've looked at the f35 manual, and it doesn't say specifically that they are fisher plugs. Any help?

Another option for great bags is from Modular51 in Canada. http://www.modular51.com/

Golf T's, fake leaves, construction site flags, Hard T's, L's, and I's. Sandbag T's and sausages.

No, I only bring what is needed. My full kit is set up for working on location features where camera dept has a truck/trailer with lots of space. When I work on commercials I usually par it down to AKS bag, Marks bag, Pelican case. I only need to bring the kit that I need for each job. Example, if I am working as a film loader for a day all I need is my film loading bin. The bins I use are industrial grey plastic bins: http://www.globalindustrial.com/g/storage/...ty%20Containers

Sounds like time to start seperating out. My kit has expanded into a number of bags and large plastic bins. For example: Cinebag for camera AKS 2nd AC bag for marks and tools empty run-bag Pelican case for AC tools that stay on the truck or are rarely used Expendables bin Foul weather bin Cam dept grip/electric bin Cam dept office tools/supplies bin Cans/cores/bags bin Film loading tools/supplies bin Laptop and computer cables case Additionally: 10'x10' EZ-UP tent 4 sandbags 3 umbrellas 2 camera carts 1 baby stand for monitor pana-cooler for grip pops :)

It was the same cost as buying the two parts seperately, the custom welding was free!

I've always thought camera manufacturers should build camera bodies with a velcro patch installed. Or at least rental houses should leave a few standard patches on. It seams silly that every time we prep the things we add all this velcro, then take it off before the return, then the next guy is just going to put a fresh piece on again. I am also a soft side on body, hard side on AKS guy.

I called in to Backstage and had them build me a custom part that I just LOVE for my Mag cart. It is the front Mitchel mount piece, but instead of having the front box mount on the oposite side I have a dovetail plate mount. I plan to get a quick release plate to mount on it.

I use golf T's to tack in the metal or sandbag Ts if the actor's bump them around. The metal framing T's are the best thing to use to mark actors. About $3.50 at home depot. Just wrap them with camera tape in different colors.

Chris, here is my system. My main cart is a Backstage custom converted magliner-style cart. On the lower front-handle u-bar I have a bracket to store the high-hat and low-hat. I had Backstage make me a custom mount that goes over the U-bar, and has a dovetail mount on one side, and a mitchel mount on the other. I generally will keep the camera mounted to the dovetail, and the tripod head on the mitchel mount while repo-ing the cart around. I also have a baby pin on the front u-bar and will fly a golf umbrella in a grip head off of it in sunny or rainy conditions. On the rear of the cart I have the Backstage tripod hooks for the standard and baby legs. I usuall tie rope onto the spreaders and hang them from the same tripod hooks (if the spreaders are not the kind that fold up into the sticks) On the back of the cart I also carry a 2-riser beefy baby stand for the monitor. The tripod hook mount has a babypin on top, and I mount a baby triple-header to that. The triple head lets me mount the monitor offset from the cart for better viewing, and I can mount a second golf umbrella on the center baby pin, to fully protect the cart. The triple-header also makes great hooks, and I can hang battery belts, hats, and even backpacks from them. I hang a stuff sack that stores all of my foul weather stuff - camera cover, visqeen, plastic wrap, tarp for the cart, towels, the cam dept rain jackets. I also have a set of canvas tote-bags that I can hang to carry the 6x6 mattebox and hardmattes. I have the Backstage 4' storage trough, and I usually keep my french flag, hardmattes, extra batteries, and water bottles in there. I also have two large hooks that hang two tape chains, one for paper, one for cloth, BNC cables, and a rope with grip clips (#2, #1, #.5) I also hang large carabeeners that hold my Hardmarks, T-bag marks, and sausage marks. I have the ubiquitous cine-bag on the top deck, and I generally move all of the camera AKS into this bag, depending on the package, I also like to have the primes case on the top deck. The bottom deck depends on the package. I generally always include my husky bag, which stores misc tools. Block battery for the monitor. Maybe the zoom lens. Sometimes I carry two full apple boxes with me (especially if the crew is very small, like second unit). Sometimes an extra mag. I have a second cart, a homebrewed rubbermaid, which I use as a lens/mag cart for larger packages.

I'd use hard marks for that. Go to a hardware store and purchase some metal framing Ts. Then wrap them with camera tape in different colors. The Ts have holes where you can secure them to the ice with a small tack or nail, but because they are metal they usually stay put, and they are thin, so people don't bump into them as much as the sandbag style Ts. I have a small loop of rope attached to my hard marks, so I can have a whole set hanging from a hook on my cart or belt. Another plus, the framing Ts cost $3.50 ish where the filmtools sandbag Ts cost $15. And you can change the color at any time with a bit of camera tape.

Thanks for the link. I found an old thread with the same question using search, but can't seem to find out how to delete this thread.

Hey everyone, I've got my first Panavision job coming up as 2nd Unit, 1st AC and was wondering if anyone had user manuals or links to manuals for Panavision's cameras they could share. I have lots of experience and training on all of the Arri brand gear, but need to bone up on Panavision's stuff. Specificly the G-II "Golden" Panaflex; I understand this is one of the older models. I do own an old copy of the Panaflex book, but it doesn't get very specific into the gear. Any help you could give would be appreciated. - John

I prefer to use the 1" size p-touch as it is the perfect size for slates. I also use the 1/2" size p-touch tape for making filter tags and for insert slates.

I think the fact that there is no standard Red One kit that solves all of the cameras flaws is really the main issue here. I have done four feature/pilot length projects with the Red One as the 1st AC, each time the rental was from a different vendor. One project the package came from an established traditional rental house (Fletcher Chicago), and three of those projects production rented the Red One body and basic accessories from an 'owner/op' and then rented all of the cinema accessories and lens from a different traditional rental house. Production sees the rental house price for a Red One, then sees some random 'owner/op' price and they think that they are getting a great deal. They think they are comparing apples to apples, when in fact they are comparing apples to oranges because the rental house, if it is any good at all, will have custom solutions that fix all of the Red One camera's flaws. Many 'owner/op's do not have those 3rd party mods and fixes because either they do not have the money to spend on them, or they are simply ignorant to the problems with the camera because they are not and have not been a camera assistant. In my experience, the 'owner/op' renting these kits tends to be a director who bought it for his own pet projects, or a rich wannabee film director who thinks he needs to own a camera to make movies. I know there are a lot of great 'owner/op' enterprises out there, and many who are or have been camera assistants. I just have not worked with your kits yet, probably because you DO have the required 3rd party mods and have priced your kits higher than these other wannabies. All three of those piecemeal projects were a real bitch to get everything working right, and on several occations we had to rent additional parts for the red and have them shipped in from LA, at significant expense to production. My one project working with the Red One kits owned by Fletcher Chicago was a blast. They understand the camera assistant's needs and work hard to support you. Thier camera packages are a real plasure to work with and I highly recommend them. More pricey than the 'owner/op', but the service and support is well worth it. I really wish the production community would establish a standard Red One camera package so that each job with the Red is like the last job with the Red, and we don't have to re-invent and re-build the camera package each time. Just my 2 cents. John Waterman Freelance camera assistant 35mm, 16mm, HD, digital cinema

Chris, There are infact several solutions for a break-out box on the Red. I would recommend checking out http://aslgear.com/ and thier product called the "Rip Kit" (http://aslgear.com/ripkit.aspx) "The 'RIP' easily attaches to the connector side of the camera and can be used in Stand Alone Mode, or with the 'RIB' Break-Out Box. Using an industry standard DVI-I Dual Link (Digital/Analog) cable, the Break-Out Box connects to the panel and gives the operator full access to all of the camera’s immediate I/O’s plus start/stop, tally, and 5-pin audio out. *Includes one 3 foot DVI-I (Dual-Link) cable." My biggest problem with the Red One is the fact that everyone's package is different, there are no set standards for what accessories and 3rd party mods are required. When I rent an Arri 535 its pretty much the same kit from one rental house to the next. With the Red each rental house or owner/op has a different set up with different solutions (or not) for the various Red One issues.

Thank you for the recommendation. Do you have an idea of the price for the schultz smartplate? Stratton Camera turned me on to the "touch and go" plate made by CSE. Thoughts?

The Leica Disto A3 is very simple. It has an on/distance button, and when you press it once the A3 sends out the laser. A second press it takes a measurement and displays the reading. If you hold down on the on/distance button it will switch to continuous read-out mode. When in continuous read-out mode it will display the current distance value along with the longest value and shortest value as you sweep the laser around. It can display both feet and meters, and do simple add/subtract/area/volume. The A3 runs off of two AA batteries, is quite small and yet still rugged. The A3 is a class 2 laser. The next step up, I think it is called the A5, adds a built in 2x sight for taking measurements in bright daylight. I have been very pleased with the A3, there is even a setting to disable the BEEP when you take a measurement, so it is less distracting to cast and other crew. Sometimes I do wish I had gone up and gotten the built in sight, but the A5 is larger too, so I went with the A3. I hope that helps you. I think that Leica are the original developers of the laser measuring technology. I worked with a seasoned 1st AC out of Dallas who had one of the first laser measurement tools, and it was a leica.

Hi all, I am thinking about purchasing a "touch and go" mount for my camera cart, but am unsure if I am looking at the right one. To your knowlege, does the Sachtler sandwich "touch and go" adapter work with Oconnor 120mm Euro Plates? Are the camera plates on say a Sachtler 9+9 the same as the plates for the Oconnor 2575C? I am looking at purchasing this: http://www.bhphotovideo.com/c/product/7890...o.html#includes or my other option would be to mount an Arri dovetail style baseplate on my cart, like the Element Technica: http://www.elementtechnica.com/products/view.php?p=8 Any thoughts would be apreciated.

Brian, I own a Leica DISTO A3, and enjoy it. The A3 was around $300 when I bought it. I'd recommend checking out Leica's other distance meters too: http://www.leica-geosystems.com/cpd/en/pro...er/lgs_5061.htm

I've pulled with one for some super-techno crane shots. It is called the C-motion. http://www.cameracranespecialists.com/html/cmotion.html It is a really nice system. If you have a camera that has smart lens and the LDS, the C-motion can display your focus plane and depth of field information overlayed on the video image from the wireless tap. Pretty wicked.

I would beware of the Redrock whips. In my experience, the Redrock whips are too flimsy, too bendable, compared to an arri. I had one on a shoot, and I could rotate the whip more than 45 degrees before it would start to turn the followfocus knob. It was useless.

interesting concept. Doesn't MTF come into play to determine the "correct" circle of confusion? Great to see so many RIT names in here.