Jump to content

Kyryll Sobolev

Basic Member
  • Posts

    137
  • Joined

  • Last visited

Everything posted by Kyryll Sobolev

  1. 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.
  2. 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
  3. 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
  4. 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.
  5. what area of the city will you stay in?
  6. 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
  7. 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)
  8. 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
  9. 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)
  10. 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
  11. 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
  12. i didn't see this thread earlier i dealt with this issue in 2017 with my c300 mk i. the problem is that the internal battery naturally wears out over time. it is replaceable on the mk i version, but not later versions. next issue was that canon stopped manufacturing the replaceable battery, and had a new PCB board with a permanently wired battery (like the newer versions). i believe at the time they charged something like $500 minimum to open up any cinema EOS product. but they sold me the PCB assembly board for $40 with a screw driver and a few beers i took out the old assembly and installed the new one. the camera functions to this day :) i attached the picture of what they had originally sent me. part #13 is the old battery the new board assembly in 2017 had part number "DG3-4157-010 PCB ASS'Y, SD, W/LI-BATT." on the invoice
  13. you can also get a second wireless hand unit and use the wheel to control the zoom - it would be more intuitive for fine adjustments, and you can place marks on the wheel to time the zoom properly. additionally, it would help with what satsuki mentions about apparent zoom speed, because you can slow down the zoom at the tighter end with more precision you would need another person doing this (not operator or 1st ac)
  14. he is just describing the projection process in the theater - projected film light bounces off the screen (sheet) and into audience eyes
  15. phil, are you asking about the lens or the artistic tools? i had to look up what the crystal dome is
  16. setting up the tools for the artist to work with 🙂
  17. i have not used wcu4 for that purpose. in theory, yes that is how it should work, but i don't know for sure. do a test before you shoot.
  18. you can use a preston microforce, or radio microforce for wireless option (but you need an MDR for that, so basically renting an entire preston kit)
  19. for stubborn lenses/motor/rod combinations, i have used an elastic band - wrap one end around the motor bracket, wrap the other end somewhere to the camera (evf rods), so the elastic bands are constantly pulling the motor into the lens
  20. tighten the motor lock to the rod, and tighten the rod lock at the camera body either one of those, or both, are loose enough to allow disengaging otherwise, gently hold the motor to the lens while calibrating, to physically not allow it to move away from the lens
  21. i was prepping a camera package this week and optimo 24-290 was on the list. so this is how i usually put this lens on the camera. the video only shows the lens part - i've prepared the camera beforehand with the long plate, rods, and lens support bracket https://youtu.be/5LVhoFzOf7c
  22. for an even greater understanding of how video chips transform light into pixels, i went down the google rabbit hole with these terms: - cmos, photon, electron, hole (it might return this for starters http://spiff.rit.edu/classes/ast613/lectures/ccds_kids/ccds_kids.html) and your youtube rabbit hole may start at somewhere like this https://www.youtube.com/watch?v=_ag0iSs5vhs happy googletubing!
  23. this lens was designed for 16x22mm frame, and i think alexa in prores 3.2k is 14.85x26.4mm but test it out, and let us know! it may just cover it
×
×
  • Create New...