Kyryll Sobolev

so, i took the bait and went for this sergey is once again headed straight for the direction of a SCAMMER (he has a shady reputation online). do not buy from him. do not even talk to him. my story so far: - i talked to sergey by email and skype, and he seemed pretty straight forward. showed me pictures and what not - i sent the money in full on november 1, 2016 - it is currently 3.5 months later, and no delivery sergey has stopped replying to email and phone calls. along the way he mentioned that he uses Optica Elite's facility to work on the lenses. so earlier this week i contacted OE, and they confirmed that sergey is a real person and is usually decent, but has a "tendency to disappear" even with them. OE's contact even tried phoning on my behalf, but sergey is not picking up. assuming nothing bad happened to him, i believe that i have been scammed. learn from my mistakes! perhaps we can ban him from this forum, as (i think) they have on reduser

what you describe is normal for that set up the follow focus will take some more effort to turn in comparison to it spinning freely sometimes you can mitigate that by backing the gear slightly further away from the lens, so that it does not "dig into" the lens (even preston motors sometimes will not turn if you jam the gears into the lens barrel). subtle vibrations, or bumps, will be normal with the cheap belt-like attachable gear rings. on EF lenses i've seen these set-ups physically move the lens so much that that the picture "jumps" as well

if this camera has an HDMI output, then you should be able to record to an external drive (like an atomos shogun or ninja) not sure about recording RAW. it depends on what settings are available in the camera

And use titanium-bonded scissors to cut velcro... The glue wont stick to these blades http://m.staples.com/Westcott-8-Titanium-Bonded-Scissors-Straight-Handle-2-Pack/product_569577

the top 3 wireless focus units in use in north america have to be 1. preston ($30k ish...) 2. bartech ($10k ish...) 3. arri wcu-4 (and gaining ground...soon will probably overtake bartech. never really priced it out for myself)

ah the never-ending attach velcro/remove velcro process no special type, just about any 2-inch velcro will do - you can cut it to custom size a lot of people will use a lighter to heat the velcro so that it does not un-stick in the cold (ontario) and damp (vancouver) conditions. yes it's a pain to remove after, and yes we generally remove it upon return to the rental house ...and yes, the next AC will spend time re-applying the velcro use goo-gone or heat gun to remove any excess velcro glue as a rule of thumb, don't apply to things that get really hot like teradek transmitter - it basically acts as a lighter trick above, and makes the glue much harder to remove after a while. rental houses may also have their barcode stickers on gear, try to avoid velcroing over those as you can tear the stickers off when you remove the velcro later (not that it stops anyone really)

try checking out or contacting people on this website http://reelangels.tv/

1800s lens for plate photography? maybe a replica of Taylor, Taylor & Hobson TTH you'd have to research more on that one http://forum.mflenses.com/old-brass-rectilineal-lens-t24288.html see bottom of post

In canada you may hear a "bertuzzi" from the crew, when on abby/window another shot was added, basically a shot that nobody saw coming :) Google todd bertuzzi

i could translate the entire post... but it's a lot of text he's not a writer, so it's just a flow of memories it was friends and others who convinced him to write a post about his experiences on the shoot in terms of cameras, judging from sergej's post they started with Mitchell NC camera, but in 1978 went to what he called a soviet copy of the Mitchell. after some googling it seems that they used an early version of Kinor 35 C KSN (Кинор-35С КСН) https://ru.wikipedia.org/wiki/%D0%9A%D0%B8%D0%BD%D0%BE%D1%80-35%D0%A1 sergej says that "most of the film, except the wide shots of characters entering the zone, was shot on Cooke Varotal 20-100mm T3.1" though earlier in the post he does mention that they received the Distagons in 1977 also in the steadicam photo you can see they used an Arriflex camera...but i am too young to tell what model :)

forgot to add a link to sergej's LJ post http://immos.livejournal.com/67613.html yes david, sergej mentions that "He (Tarkosvky) worked closely with set designers, paying attention to the smallest detail in the frame" and "Tarkosvky's tireless assistant in preparation of each frame was art-director from Kazan Rashit Safiullin" sounds similar to james cameron :) he's always very involved in each shot, from what i have seen in the bts footage

the dolly grip, sergej bessmertnyj, actually published a long post in livejournal about his work on "stalker" the post is in russian, but has incredible behind the scenes photos, including a very early version of steadicam http://ic.pics.livejournal.com/immos/12057266/36034/36034_original.jpg it seems that their basic dolly set up was on rails using metal wheels http://ic.pics.livejournal.com/immos/12057266/35410/35410_original.jpg sergej actually has a paragraph at the end of his post where he talks about the tunnel shot, i'm going to translate it "Another set-up showed a bending tunnel, where the heroes would be walking. To move the camera we built a special dolly, which moved on rails that were fastened on each side of the tunnel, and covered with long strips of decorated (painted, greeked, camouflaged, etc) canvas that could be lifted to allow the dolly to roll through"

i don't know what the AUX setting is for because i have never used it, and i have not seen anyone else use it from the description i suspect that it is a connector for an external recording device that records lens data to be used by VFX or 3D later custom mode you are asking about is to turn off any of the motor controls by the HU3 if you are using an HU3 to control focus, and the DP is using the single-channel controller for iris, you want to turn off the iris control on the HU3. this ensures that the HU3 will not override the single-channel link in case the signal is lost (like if a battery on the DP's controller dies during shot, at least the last stop position is active, but since the link is lost, you don't want the focus puller's HU3 to override it and change the stop accidentally)

if you use preston, you will have this system - MDR, mounted on the camera (http://prestoncinema.com/images/photos/mdr3_2014.jpg) it receives the signals for focus, iris, and zoom information from hand units. it also drives the FIZ motors via cables. - your focus puller will do the focus control using the FIZ hand-unit (http://prestoncinema.com/images/photos/hu3_double.jpg) you can attach a zoom controller to the FIZ HU and it will send the zoom information as well - your DP, or whoever else, will do the iris control via single-channel controller (http://prestoncinema.com/images/photos/news08_05.jpg set the MDR, the hand-unit, and the single-channel controller to one channel, and they will all talk to each other == if you use bartech, - you need to have 2 MDRs for the 2 motors, and 2 hand units - set focus MDR and focus HU to the same channel, and set iris MDR and iris HU to a separate channel (read bartech's manual, they tell you which channels work best) in this picture you can see a DP using bartech system to control iris motors on 2 different cameras http://www.csc.ca/publications/2015/201509/images/ArticleImage20150902.png == if you want to mix-n-match... use preston MDR for something, and attach bartech MDR for something else

Phil, maybe you can help me understand this better, but from my reading I understood that 2/3 of the colour information is essentially "made up" by the chip (extrapolated if you will) is that wrong way of thinking about it?

you can control both the focus and the iris motor from one hand unit, if you have a system like one of these industry standards - preston, using only one motor driver for 2 motors http://www.prestoncinema.com/products_FIZ-HU3_2014.html hell, you can even throw a zoom controller on there and a 3rd motor - digital bartech, using 2 motor drivers for 2 motors http://shop.plcelectronicsolutions.com/kit-bartech-bfd-w-slider-2-fstop-v2-1s-2-m26ves/ in reality though, the DP or DIT will handle exposure controller separately

you formatted a card which was loaded into the camera and was recorded to? that's beyond cardinal sin :) i think we are missing a bunch of information here anyway i quickly googled a7rii and there appears to be an issue if you erase files on the card by not using the camera. this seems very similar to me to other sony workflow process. i just worked with sony f65, and our DMT could not erase the SRMemory cards at his station - they had to be formatted by the camera, otherwise the file structure would be corrupted

i think a lot of it depends on how/where you work if you are going to be consistently busy in the narrative world (features or tv series) - i think it's best to invest in a solid metal cart like the one in the attached image. i think filmtools and backstage sells them http://www.filmtools.com/carts-dollies-1/camera-carts/alcolcamcar.html people always add 3 things to the basic cart: hi-/lo-hat holder (below the front handle of the cart), mitchell mount (hanging over the front), metal bar to hold regular/baby sticks on the back it is an expensive option...probably most expensive, but it is a solid cart why it's useful for features/tv series world - these projects tend to shoot longer and you have large support in terms of transport department/camera truck, so you don't need to take the cart apart - it is a solid cart and easily holds all the heavy bits (these carts come with 10" wheels) - but the carts don't easily come apart, and you need some time to build them up - also, they don't really fit into a minivan...but you can strap them into a pick-up truck if you are just starting out, or going to work mainly in commercials/music vids, modified rubbermaids are perfect. they are relatively cheap - $170 for basic version http://www.uline.com/BL_81/Rubbermaid-Flat-Handle-Carts?keywords=rubbermaid%20cart - plus the cost of 4 10" wheels (you're gonna want 10" wheels) - plus the cost of getting a wooden plank for the bottom of the cart the one i attached in the image is missing the key piece - a wooden lip that sticks out on the back, it's useful for carrying regular/baby sticks i think these carts are good for either narrative world or commercials/music vids - if you own a minivan you can fit 2 rubbermaids inside by flipping them on their side, and they are still used in the features/series world because they are cheap and sturdy the magliner seems like a good option, because it's collapsible - so if you do a lot of dailies, or many projects within a week, you can put it away inside your car... but that's in theory. i have not seen camera crews use the magliners on set in toronto

black shading with red camera is a bit of a misnomer in a nutshell, specifically as it relates to red cameras, black shading is this: - every digital chip has natural noise - this natural noise will be different for various temperatures - black shading looks at the noise pattern of the chip (basically the noise on black background) and stores it - then the camera takes out the noise from the picture for example, a show i just worked on - we would have a black shading map for -35º celsius shooting outdoors in february, and +35º celsius in the summer in depth explanation from red http://www.red.com/learn/red-101/black-shading-calibration excellent overview on reduser http://www.reduser.net/forum/showthread.php?111628-BLACK-SHADING-For-Dummies-amp-Experts

we use 2 types of rain cover 1. a clear garbage bag, cut open one of its sealed sides, but leave a little bit at the corner then use binder clips to clip the flat end (the cut open end) to the matte box if needed, you can cut a hole for the cinetape, but the bag will cover the operator as well, or leave him uncovered if that's their preference this is also useful for blood squibs or any crud, because you throw away the bag after 2. a modified shower curtain - i've attached a picture of what i used same thing as a garbage bag, but the plastic is heavier it's more suitable for a dolly or stationary set up, because the operator and the AC are covered nicely some people may not like the magnets or the metal grommets that come with the curtain, so use them scissors

Modular purchases their bags from company called fikenca Talk to babita at fikenca info@fikenca.com 1.604.755.9944 The wait from order to delivery will unfortunately be the same I actually went to visit Babita - she does all the work by herself

I have not seen any 1st ACs use or calculate trig on a regular basis - it will never be time effective ACs use intuition and experience to adjust While you can calculate the precise distance to the film plane, on the day it wont matter as much - the actor may overshoot the mark, or lean in further, or the dolly will have to adjust because someone popped into the frame, etc You could use trig if the camera is way up on the crane and subject is too far for cinetape to read - use laser disto to get length to subject and height of the camera

check out iatse 667's website for the trainee program details, and see if you want to apply otherwise - find every commercial/tv production house in toronto and walk in there and tell them what you said here they are always looking for PAs (and CPAT rates for PAs are 200-250/day)

i'm going to side with miguel - why do you need to attach notes to the back of the slate? are you talking about attaching the camera report book? otherwise, just stick tape to the back of it and write on tape, and transfer the information later

that's the first thing i thought of, since technology already exists for 3d filming what are the companies that are developing HDR video cams? would be interesting to see some results