Kyryll Sobolev

i worked with DPs who had the prism and broken glass set that they have purchased and collected over the years it's probably trial & error until you find what you think works for you

i think the first image didnt attach properly this forum interface is very painful to use on mobile

here is us yesterday using a more light-weight system (proaim airwave), which is cheaper but not really built to handle the fully built ronin 2 weight it worked fine because the shot was on a relatively flat path, with a very slow move the video is not during the shot, we were turning around on the exo car, but i wanted to show how a lighter weight arm/head respond

i have not used griptech's iso v8, but i have worked extensively with flowcine blackarm and customeasy 25kgs iso head (to carry ronin 2/alexa mini) i generally find that the bigger arms are better, so griptech iso v8 seems like a good fit. it is a constant trade off between the cost/arm size/vibration dampening results. i'd say we were quite happy with our blackarm/customeasy head combination. two

it is episode/scene, slate, take here's a high slate number from years ago, when i was a 2nd AC on a british show which did some shooting in toronto

you need to research similar service providers in your area in north carolina, the first few searches to come up: 2-ton trailer for $270/day (https://www.shadowsandlightinc.com/2-ton-grip.html) or 1-ton grip truck for $275 and up (http://ashevillecameragriplightingrental.com/grip/) in london, uk: £350/day and up (https://gripvan.com/packages) in toronto, $475/day and up (https://ontariocamera.com/lighting/sprinter-vans) compare your package, quote a few projects, and see what your market tells you

almost anything can be done in live action... for the right price ? fast dolly in/out is very possible with a technocrane, bolt or another highspeed robot arm, cable cam, etc there is a shot in 'the marvelous mrs. maisel' where they rapidly track the camera away from a stage, all the way across the room... i think it was season 2. you can ask david mullen about it.

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not my office, but back in the day when i was a youths, this is what i wanted to do - operate for live sports

digging through the webs led me to this document: https://eol.jsc.nasa.gov/SearchPhotos/Metadata/Apollo-Saturn_4-6_tables.htm under "Apollo-Soyuz Test ProjectStafford-Slayton-Brand (July 15-24, 1975)", in the Television section, this equipment was used: ASTP Television System (Camera, Lens, Monitor). Operated in Apollo and Soyuz. Zoom 6-1 and 3-1. Range 25-150 mm, 9-27 mm. F-stop 4.4-44, 3.5-35. Focus 20"-inf,. 1'-inf. (modified Westinghouse) searching further based on that leads to: https://commons.wikimedia.org/wiki/File:ASTP_TV_Camera.JPG which appears to have your lens!

it is a 6x6 mattebox with a "full metal jacket" - eyebrow with a flap extended, plus left/right siders. useful with a zoom lens, which they appear to be using you can see a filter reflecting the light as well (shiny part in the bottom right of the 'black square')

is this the right manual? https://drive.google.com/open?id=1AH4PjgS-86noBte8LG8dF9wj_ddz2yAq

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

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.

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

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.

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

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

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.

what area of the city will you stay in?

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

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)

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

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)