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John Russell Schmidt

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  • Occupation
  • Location
    New York
  • My Gear
    Own Alexa and Red cameras
  • Specialties
    Natural Narrative

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  1. Perfect working condition. Sensor replacement was performed at about 2900 hours by Arri Blauvelt in 2015. Camera has 3883 hours total. Will provide work order for anyone interested. SENSOR HAS NO MORE THAN 1000 HOURS ON IT. Some damage to external pieces SEE PICTURES: The Arri dovetail no longer has a safety 2 of the SxS cards have broken lock mechanisms The AC power supply was damaged and repaired, in working order and never had a problem with it since. The 2 tie down screws for the BP-12 are stripped. BP-12 still removable Other than the above all other wear is cosmetic. Link to Pics https://drive.google.com/drive/folders/1kWkXb4wE2ejoP2xL9XylEWSAui7a_1wT?usp=sharing Arri ALEXA EV 16:9 (hi-speed and anamorphic Lic) Classic K1.71000.0 s/n: 2762 (hi-speed and anamorphic Lic) Electronic Viewfinder (EVF-1) and Eyecup Center Camera Handle (CCH-1) Handle Extension Bracket (HEB-2) Viewfinder Mounting Bracket (VMB-1) Viewfinder Extension Bracket (VEB-1) (4) 32 Gb SxS cards (1) DAMAGED BUT FUNCTIONAL (just doesn't lock) 32 Gb SxS Card (see picture) (1) DAMAGED BUT FUNCTIONAL (just doesn't lock) 64 Gb Sxs Card (see picture) SxS Card reader Pair of 19mm / 440mm Bars (Long) Pair of 19mm / 240mm Bars (Short) Pair of 15mm Lightweight Bars - Short 240mm Pair of 15mm Lightweight Bars - Medium 340mm BP-12 Shoulder Pad (SP-3) Levelling Block (LB-1) WA-1 Wedge Adaptor 12" Dovetail DAMAGED (No Safety latch, otherwise functional) (See Picture) EVF Cable (short) EVF Cable (long) AB P-tap sandwich plate 24v Camera / Battery Cable AC adapter to 3pin XLR 3pin XLR to 2pin Alexa power cable Alexa Case 30"x14"x14" Battery Adapter Back for Gold Mount (BAB-G)
  2. The roof can't be movable, as it'd end up around 70' tall. These other questions have been brought up Christopher but as the DP, I can't make those calls. I'm trying to best suggest solutions within my scope of influence.
  3. I am on a show that is shut down due to Covid and we are coming up to monsoon season. We have a number of weeks worth of exterior work left and production is floating the idea of building a roof over our neighborhood set so once lockdown is lifted we can continue to shoot into the rains. The set is a large neighborhood, consists of a 3 story building and other fronts, streets, alleys etc and measures about 300' x 450' or over 140,000 square feet, about 2x the size of a standard soccer field. The proposed roof is planned as steel, and translucent tarp above without sides. My general thoughts are that I need to soften and probably supplement overhead ambiance and have a number of units as sunlight effects, depending on the shot. Ambiance- I am not yet sure how translucent or diffused the tarp will be but figure I could always hang diffusion below it if necessary, because I'm concerned about shadows from the frame if sunlight peeks through. I feel like adding units to supplement and soften out transitions, if the sun is going in and out is probably wise. Although I'd love to have the flexibility of color and wireless, I don't think S60s above diffusion is realistic because I'd need about 1400 of them. Tungsten space lights probably out as well because we'll have proper daylight bleeding through on the sides. I could go Muslin on the diffusion and then set up a ton of Dinos/Maxis on the ground and put them through blue gel and bounce, which seems most practical. Ideally run everything through dimmers and have some that are un-gelled on a different channel to have some color control. Sunlight- A couple 18Ks for clean shadows and smaller scenes. 100k (or 2) soft sun for larger wides? How do these compare to HMI? I've heard they can be unimpressive as a hard source. Or maybe an array of HMIs and Maxi's might be better when clean single shadows aren't necessary. Obviously, will discus with my gaffer but curious if anyone out there has any advice or thoughts on doing large exteriors, now inside.
  4. Perfect working order, cosmetic nicks https://www.ebay.com/itm/Arri-FF5-follow-focus-kit-perfect-working-condition-whip-crank-19mm-base/333381221852#shpCntId
  5. 4.5 rolls Shot this with it a while back. https://vimeo.com/236805555 https://www.ebay.com/itm/8547-35mm-Fuji-Film-Eterna-Vivid-500T-400ft-4-unopened-rolls-1-recan-200/333374399905
  6. I have an otherwise simple shot that requires a 180 degree tilt (maybe a bit more) that takes the camera from upside down, tilting towards the ground and back up the other direction right side up. We'll boom up and push on track in to a CU. Is this doable with a Jimmy Jib? Why is it that you mainly see Jimmys on TV events and the low budget stuff more than feature films, more than a jib from fisher or chapman? I realize it's not a stabilized head and operating on wheels even on a power pod head would be more repeatable but assume an experienced Jib operator shouldn't have a problem with such a shot. Is there something I'm missing? Thanks
  7. Attached is a picture of the full package $990 before tax. Best deal in NYC.
  8. ALEX! How are you Buddy!?? Thanks for the kind words. The last zoom was indeed to mimic TV style. Although you probably wouldn't ever see it on a broadcast like that. It came from the idea that he's now the one to watch, how he's essentially become what he disliked before, by no fault of his own. I will tell Htat hi for you and keep in touch man! Ciao!
  9. We are now offering our Alexa package in NYC at discounted rates. $1200/day + tax with our lenses, $1000/day + tax without. Standard weekend and weekly deals apply. We also have other cameras so see the site for more information. Ajarrentals.com And contact us when you need info@ajarrentals.com (347) 674-8254 Here's the breakdown of everything you get for these rates: Arri ALEXA EV 16:9 w/EVF-1 & hi-speed license Viewfinder bracket +Extension (5) 32 Gb SxS cards Card reader TV logic 5.6 LCD W/ Noga and Hoodman O’Connor Mitchell 2060 Ultimate HD O’Connor Heavy duty Standards O’Connor Heavy duty Babys Hi-Hat Dovetail and Europlate quick release Arri FF5 Cine Pro Kit (Left and Right Knobs, Crank, Whip) Arri MMB-1 Set top-load (Clamp on, Bellows, Top Flag, 19mm adapter) 8”15mm Rods 19mm rods BP-12 Shoulder Pad Redrock handgrips Setup (LWS) Zeiss Compact Prime CP.2 5-Lens Set w. Case -21,28,35,50,85 Tiffen 4x5.65 -ND3, ND6, ND9, IRND12, IRND15 -ND6 SE GRAD Tiffen 138mm WW Circular Ultra Pol Filter Schneider Classic Soft 1/8,1/4 (6) AB Dionic HC battery Anton Bauer Quad 2702 PowerCharger AB P-tap sandwich plate All Necessary Cables, AC adapters, etc Thanks for looking and Happy shooting!
  10. Thanks Kieran, The interiors are mainly small units dimmed way down, one was a overhead globe with a muslin droop and a duve skirt and the other was a 300 rigged high and then adjusted for the close ups. Brought the sources in closer and softer for the close work. Really just supplemented the practicals and let the faces go dark and edgy. Took as much off the walls by skirts, teasers, and flags whenever possible. Some negative fill here and there.
  11. Sharing a short film we just posted online, just in time for the NCAA tournament. I shot Alexa 4444 2k, superspeeds wide open most of the time. Some of our influences were a little Savides meets Soderbergh with a dash of Fincher. My friend Andrew Lewis Directed, Nice Dissolve in Brooklyn did the Color. Kyle Fasanella on steadicam. A confrontation with an old rival makes Zack Woods a media sensation hours before leading his underdog team into Game One of March Madness. Let me know what you think and enjoy!
  12. Hey Guys, I now own a Red Scarlet Package I am renting out in NYC to productions for $600/day. Zeiss CP.2 PL lenses, ARRI MMB-1, FF5, Sticks, all for just $600/day. Full package Details at www.proscarletrental.com. Check it out and contact me at proscarletrental@gmail.com for details.
  13. Does anyone know which Rental House In LA carries this filter or is it only available through VantageFilm?
  14. I am set to shoot a series and need 35mm lenses, slow motion, and to shoot at 1080p 24p. I'd like at least a 422 color space. I am trying to push RED but budgetary concerns may need me to go EX3 or even EX1 series plus a lens adapter situation. I have extensive experience with the adapters and will probably go Letus but am wondering people's feelings on the rig. I am tired of sticking a crappy product between decent glass but budgets are budgets. Basically what I really need to know is if even though the chip may capture full res HD, is that what actually gets imported via cards to FCP or does the codec compress it. The bit rate is low and I am wondering what it gives up to do this. Is it actually 1080i, is it 4:2:0, is it at 60i only? Also what does the slow motion look like? Last season we shot HVX+lenses and I am generally looking for a similar or better quality. I appreciate any links to other posts but really need an answer asap and had just stumbled upon this page so please give pity on a noobs questions.
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