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Kyryll Sobolev

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    1st Assistant Camera
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  1. another trick i have seen a DP use - he would shine a laser pointer through the room, and that would give him an idea of the thickness of smoke obviously he developed his own system and trained his eye to it
  2. robin is correctw, to cameras are the solution. one permanently in gimbal mode. second one for studio/hh/steadi/etc. if you only have one body, there are no real short cuts. but you will get better and more efficient at switching modes as you do it more often. on my last show the production wanted to use our ronin-built body for second unit, to avoid renting one for them. but they needed everything that day - ronin, steadi, hh. i estimated 30-40min changeover to rebuild the camera from the stripped down ronin mode... so they just rented a second one, which is much more efficient.
  3. i am a big fan of new technology, especially for focus (lightranger2 system is a genius update to the cinetape/ultrasound systems), but no current AF technology is capable of working to any reasonable extent in narrative/commercials/music vids i don't work in docu world, and i can certainly see it beneficial there. though the latter seasons of "last chance U" on netflix the AF was annoying, well, af... it was constantly jumping and readjusting, and made a frustrating watch. i didn't see that in early seasons
  4. you know the swiss cheese model of accidents? this case will become infamous for how hard every party involved worked to line up the cheese holes for the accident to happen. each new piece of evidence i hear is more mindboggling than the previous one. good on the IA camera crew for walking away, but it is a terrible catch 22 for halyna - as a rising star sometimes you can't walk away from your career-building project.
  5. looks like the CPM geared head https://nofilmschool.com/2012/03/cpmhead-geared-head-aims-bring-smooth i remember it was announced online, but i have no idea what became of it. i have never seen one in person
  6. more than there ever needs to be https://en.m.wikipedia.org/wiki/List_of_film_and_television_accidents sarah jones was killed in 2014, but it feels like yesterday. shocking and stupid really
  7. i think it's a big compliment to the focus puller that we didn't notice anything. similar to an airline pilot 🙂 - if the flight was smooth, then he did his job perfectly. larry also kept the distance and pace with the characters extremely consistent, and that would have been crucial help to the focus puller. you would notice far more detail on the big screen of course, plus i think it is very humbling to know he was pulling without monitors, and larry was probably framing off those old-school green-only steadi monitors.
  8. what area of the city will you stay in?
  9. gregory, and the article, describe it very well. 14 hours on set is standard in narrative world, at least in north america. commercial and music videos can have their 19+/24+ hour days as well, although not as common and typically not 5 days in a row. on a 12-hour shooting day we usually have 1 hour pre-call, 1 hour or so to wrap out on location, 1 hour lunch, plus travel to and from home. so you really have a 16-18 hour day with just enough time to sleep. other crew rarely mentioned who have even worse hours are transport, locations, and ADs. i pull my car over for a nap when i feel drowsy, and productions have been offering hotels on 14+ days if you request it. i know of some grip/elecs crews who have an informal phone line so you can speak to someone to stay awake on drive home. as gregory mentioned, bigger shows have been adopting the 10-hour/no lunch break days. so there is movement in the right direction, but 65-hour+ weeks are still the norm
  10. yes pana here has that T stop reading device, and i have seen the tech here restripe lenses with tape and marker i should rephrase my question to more organizational aspect - if you have many various lenses, do you select some to act as "base" lenses, and match others to them (if the lenses actually do give different readings)
  11. greg, with many different lenses selected for a final package, how do you go about making sure the iris markings/T stop readings are consistent for the DP? i have seen people re-stripe a few lenses which give a different reading than most other ones in the kit... and i'm on a show now where we have atlas orions and panavision T series anamorphics. the T series are consistently darker than atlas, at same T stop reading on the barrel
  12. yes i am sure there was endless experimenting with something like this from amazon jeremy benning, DP for "the expanse", recently shared another funky filter that he thought of. in his words, it is "a custom filter sandwich that incorporated green glitter floating in mineral oil and smeared with green-tinted Vaseline and lit with an LED light internally to create variable sparkles" you can watch the effect here: https://www.facebook.com/watch/?v=1639128986296082 (i think he only posted it to facebook)
  13. from markus's website we can see what it looks like. no idea what that adhesive film is though https://www.markusforderer.com/spectrum-filter 39aef2_8e7c31086a9d4e9daf5ce37a3c405217.webp
  14. i wonder if we can find more bts photos that would be clearer what is in front of the lens looks like a glass or prism on a 114mm diopter attachment in front of the lens
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