Tom Jensen

If you are carrying a camera from one place to the other, you should carry it with the lens facing back so you don't run the lens into anything. A grip could be carrying a ladder and that would be ugly if the two collided. When an operator hands it off to an AC he is usually tired and it is easier for him or her to let it go backwards off his shoulder since the ac is usually close behind. Space blankets are to reflect heat not keep camera at any particular temperature. They are also used to keep the camera free of dirt and dust while crew is at lunch. I have used a cart to hold a camera on a hi-hat and I have used the ground since it can't fall any lower than the ground. But during travel, it never hurts to put the camera in its case. I have left it built on the bench where I have taken a short length of 2x4 and a base plate secured to the bench. To clean the camera I used canned air, a camel hair brush and cloth diapers depending on how dirty. You can use Armoral on a rag if need be. Carry sticks with the lens behind you facing down. There are a lot of industry standards but on your shoots, it's your department. You have to do what is right for you.The industry standard is the fastest way that doesn't take unnecessary risks.

Just say your name is Peter James and you won't have any problem.

You could actually get rid of the front box and use a cup holder. bracket.

Rolling papers. Cloth Tape measure, a stabillo, a can of air, kemwipes, and a roll of paper tape.

Yes, lots of shooting and labs and workshops and movies and events. You need to network as well. There are stages everywhere. People still shoot in LA. The industry is based in LA. Go now.

:unsure:

Some zooms are faster at the wider end but the lens will be set at the f stop for the longer end so there is no light loss as you zoom. For instance, and this is just example that might not be true at all, a Canon 150-600 is a 5.6. At 150mm the stop might be a 4 but if the lens was set at a 4 and you zoomed in you would lose a stop of light because at the long end you need to be lit to a 5.6 even if the lens is physically opened on the barrel an additional stop. The stop is set at a 5.6 so it remains consistent through out the zoom. At least this is my understanding.

There is something to be said for working your way up the ladder and learning from the pros.

Touching on? I think it was pretty thorough and went on like a drug store novel. 10-15 pages of detail.

My rate is $25 a day. Take it or leave it.

I think there is a huge thread on this already somewhere.

I'm going to butcher this story but here I go anyway. One of Kurasawa's DP's was in LA giving a talk. It might have been Azakazu Nakai but he was a Japanese master of cinematography. A guy in the audience asked how he got such brilliant images so the translator says something in Japanese and the DP says something in Japanese and, in English, the translator says, "He say he take ISO number from side of film box and put in light meter. Then he hold up to sky."

It doesn't matter what you use as long as you get paid. Therein lies the difference. A camera ain't nuthin' but a box with a hole.

I really enjoyed the show. I thought the talent was top notch, the music was great, I love New York. David's work was excellent. The show dragged for me in the beginning but it picked up at the end. I hope it comes back. I wasn't sure what to think of Ivy. She wasn't pure villain so it was hard to see what direction her character was going to take. She was sympathetic a great deal of the time. She was talented, hard working, personable. She just wanted to succeed and be loved. Derrick jerked her around. So, I felt bad for her. She had bad streaks but was still likable. I do want to see the show come back.

No, it's true, though. When I was at Otto's back in the 80's we had a set with the screws and that's what made me think of it. The screws did come loose all the time and we had the luxury of a collimator and a projector as well as several lens techs. Fortunately, I was lucky enough to never have to use them.

There are also adapters that go over the bayonet mount and tighten with screws.

Also, one stunt could take all day or night. A big explosion will have multiple cameras going and is very dangerous. It takes a long time to rig and takes less than a minute to shoot.

It varies. Normally it is broken down in pages per day. In the old days on big movies, as low as 3 pages per day. I think now it's more like 5 pages. 5-7 pages up to 10 pages is a great long day. In TV land. I forget, it's been so long since I've stepped foot on a set. Say you have a 90 page script and you want to shoot in 5 weeks working 6 day weeks, that will give you three pages a day.

zooms flare more often than primes.

I would suggest you watch a bunch of other road movies to get some shot ideas. Inside the car gets old without a variety of shots from outside the car. Bonnie and Clyde, Easy Rider, Motorama, Paper Moon, My Own Private Idaho, Even Cowgirls get the Blues, La Strada, etc.

Flares are caused by light bouncing off one piece of glass onto another. The more glass you have, the more flares you have. This is one reason why people shoot with primes as opposed to zooms. Like Adrian mentioned, modern primes and some zooms handle this problem fairly well with in frame sources. But one of the major problems with flares comes from light sources outside the frame. I've heard it said the the difference between an electrician and a grip is that electrician's light the set and grips remove the light from a set. Great pains are taken to flag or remove unwanted light from hitting the lens. Camera assistants will use hard mattes and french flags to remove unwanted light from also hitting the lens. Some flares look creative and artistic but for the most part they ruin a shot,

It certainly wouldn't hurt and he's not going to print. The numbers of his test looked OK.

I don't think that I would underexpose it at all. I would just overexpose it by 2/3rds of a stop and call it a day.

I like the sense of urgency.

In the 80's I saw a grip wearing Spandex bicycle shorts. Unfortunately, I cannpt shake that image. In order to be a SuperGrip, you have to pass the grip test which involves the removal of grip clips from your thumbs. I passed. The pain was so intense I figured it out in mili-seconds.