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Kyryll Sobolev

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Kyryll Sobolev last won the day on March 19 2017

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About Kyryll Sobolev

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    Camera Operator
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  1. lunch everywhere will be more like this now additional rain in britain and vancouver as required
  2. the tools which you will need largely depend on the scope of the job and level of trust you have with your colleagues. assuming this is a digital shoot, if you know that tomorrow's gig (or today's "need you here ASAP" replacement) is contained to a studio space with no exteriors/water/etc., then, you can probably squeeze by with the following. for 2nd AC, and assuming your 1st AC is a good colleague and trusts you: - slate pen, or any other marker and your dumb slate - puffer - kimwipes - multitool - roll of cloth tape these are usually the contents of your toolbelt as a 2nd AC (i have left out a flashlight...you CAN get through the day without it) for 1st AC, and assuming the DP trusts you: - if there is no 2nd AC on the shoot, then all of the above plus - tape measurer+disto, and definitely the flashlight (these 2 usually live in every 1st AC's belt) but at some point in the day you will need other tools. since you have accepted the job, you have to make yourself and your boss look good. when i was a 2nd AC, if i accepted a daily call or a commercial/music video, i would always bring my: - ditty bag, which had most of the tools we generally use - weather bag (everything to protect camera) - my personal bag of clothes depending on the shoot (ready for rain or winter, etc) as a 1st AC i continue this practice. for short format work i bring those 3 bags. for long format work, like features or tv series, you will need carts to organize tools and accessories. these are doug lavender and team carts. he normally works in vancouver, so they have these amazing rain covers made for the carts, which we normally don't have a need for in toronto. but i saw these in prep and though they were very cool.
  3. this 'focus distance' part of the article was maddeningly confusing to me as well, so i had to ask a lens technician to explain. I will try to paraphrase his words below, and perhaps Dom can explain a bit further if this is still confusing. The explanation and the theory of the entrance an exit pupils in the article are correct. Entrance pupil is an image of the aperture stop in front of the lens. The size of that image and position controls the amount of lite going through the optical system (lens). Lenses have nodal points, which are important here because nodal planes or conjugate planes can be inside or outside of the lens depending on the design. Therefore they may or may not be aligned with the position of the entrance or exit pupil. In theory, the distance to the subject is measured from first nodal plane and not from the film plane. But, it is not practical for the end user to measure from nodal point. You can't put a tape hook on the lens, some lenses have nodal point outside the lens body, zooms have different nodal point because of the different focal lengths, etc. Therefore, as Dom has explained, the lens footage scale is calibrated as a final distance between an object and its image on the film or sensor, because this is what is important for end user - final, sharply focused, image of an object at given distance. Measuring from object to the nodal point is for design and calculation purposes of the optical system. For example, when a designed and manufactured lens is set on MTF or large collimator, it is focused at a given distance that is measured from a FILM PLANE, not from nodal point. The best image obtained on that film plane is engraved as the distance on lens. This measurement avoids the size of the lens and its internal optical movements. in essence, the article author is flexing lens design knowledge on the readers 🙂 but we do learn something out of it!
  4. last two statements are not true. the relative ease of a job varies with each project, but in no way does it get easier for a 1st AC (especially A cam) as the budget increases. also, no, you can't learn focus pulling by eye on a stills lens on a 3-inch screen. how does that even make sense
  5. i'm selling bits and pieces of my digital bartech kits maybe someone could use these for their backups will sell items individually. prices in USD. shipping from toronto, canada. 1. Bartech P-tap power cables (4 cables available, $75 each) 2. Digital motors cables (4 cables available, $100 each) 3. Bartech Hand unit with 1 aluminum marking ring and 2 antennas (2 units available, $800 each) 4. 6 plastic marking rings (12 rings available, $20 each) 5. Bartech fSTOP MDR with 2 antennas (2 units available, $400 each) 6. Heden M26VE motor gears, set of 3: 0,4 / 0,5 / 0,6 (2 sets available, $150 each set or $75 per gear) 7. x3 Re-chargeable 9V batteries with x1 charger (2 sets available, $30)
  6. check with your local in my local you can work utility and 2nd AC interchangeably, but you need to officially upgrade beyond that.
  7. use a clear garbage bag for the camera - they are bendable, cuttable, and very easily replaceable. you can still see and push camera buttons through them use small binder clips to attach the bag to the mattebox cover the on-boarx monitor with a clear ziploc bag, pull it tight, and wrap elastic bands around the base of the noga arm be creative - we use food wrap (saran wrap? cling wrap?) if needed, bongo ties, elastic bands, clips of all sorts
  8. focal length is the distance between rear nodal point to the point where light crosses the optical centre axis of the lens (which at infinity is the plane/film/sensor)
  9. i would not worry about a 1-2mm dip it happens quite frequently with strong motors preston dm1x can move a lens at either end point. it almost never happens on primes, but mostly on zooms optimos for example (28-76 or 45-120) have their focus ring furthest away from the mount, so a strong motor will push them you can turn down the torque, use your hands to keep the motor and lens steady on calibration, or add lens support bracket if possible
  10. jeremy benning explains in detail how he has prepped 'the expanse', at least from the lighting/set design side and this is an interesting podcast as well, where jeremy talks about shooting a tv series
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