Boyd Hobbs

More Photos

Arri Amira Premium UHD PL Mount

- 1270 hours
- Premium UHD License
- SanDisk Card Reader
- 2x Viewfinder Cables
- ENG Base Plate
- Coiled 3-pin Power Cable
- Anton Bauer Plate

Happy to send it in to Arri LA to get a checkup before sale.

How does it perform in daylight? And the Arri power cable, is it 24v 3pin or 12v 2pin?

I recently purchased two 2K Xenotech Xenon's from a lighting supplier that closed down, and am selling them.

They are currently being upgraded at ArcLightFX locally. I have chosen to upgrade some of the components in the ballasts to more modern specifications. With the upgrades, I intend on selling them for about $2,500 / unit. Bulbs are good at ~200 hours (only 10% of the average 2000 hour life).

2K Lamp head with bulb with 208 Hours

Ballast

2x 50' Header cable

Twist Lock cable

Cam lock to twist lock adapter

Road Case for Ballast

Road Case for Head

$2,600

2K Lamp head with bulb with 230 Hours

Ballast

50' Header cable

Twist Lock cable

Cam lock to twist lock adapter

Road Case for Ballast

Road Case for Head

$2,500

Brochure for this light: http://newstronglighting.com/wp-content/uploads/downloads/2012/04/BL-2000-Datatsheet.pdf

NEW RETAIL PRICE: $14,000 per unit.

See other listing for a used unit for $3,750: http://www.alangordon.com/sales/used/lighting.php

If you wish to see the units, feel free to call. It may take some arrangement as they are currently being upgraded.

678-662-0297

Does anybody know of any rental houses that sell their duvetyne scraps in LA?

In Atlanta, there is a house called PCE-Atlanta that would sell a large milk crate full of it for $20. It was a steal. Usually had a couple large pieces.

Looking for a supplier like that out here.

Please be super critical. Tell me anything and everything you think that is weak in it.

This is my secod music video with a budget that's for a real band. And, I didn't direct it, so please keep comments about lighting/camera.

That is fascinating. Really interesting.

I'd be interested to see what you could do if you revisited this technique. Mixed media is working it's way into narrative storytelling more and more these days. Scott Pilgrim, 500 Days of Summer, Zombieland are just a few movies that have pushed the limits of what unique visuals can do to further the story outside of the conventional methods.

This video seems to me to just be a test. How could you use this in a short film, PSA, advertisement?

You have some good work. I liked the black and white at the beginning and especially the work at the end with the kid and the piano.

I wasn't such a fan of the stuff in the middle with the slow mo walking, tub, mirror guy. The blood looked fake and kinda distracted me.

But to generally improve the reel presentation, I'd pick a new song. Something more upbeat less atmospheric. That's my opinion.

Biggest and easiest improvement, don't repeat shots. Demo reels are about evaluating work. I see a shot, and make an instant decision about the lighting and camera work. Next shot appears, the same fast decision. Next shot, again, decision. But when a shot comes up that I've already seen, it takes me out of your reel.

This is my thought process "Good…good…great…good…already seen it…ok…already seen it…" Try to make it so everything is fresh and new.

Hope that helps.

... I would just be sure to add "he or she" to not exclude female cinematographers…shoot some demo footage of the camera moving along the Inline Dolly. As well have some footage of the scenes that used the Inline Dolly so people can see the quality of the movement it gives when you use it.

Thanks Benjamin. Change made to the performance section, and we have footage in the works. There are a handful of projects that have been shot on it that are currently in editing. When those are done we plan on putting up a nice little video.

I'll post a link here when it is finished.

Bump.

Hey guys,

I am putting a new product into the film and video industry and am trying to spread the word. It's called the Inline Dolly and it's a no-comprimise, robust dolly system designed to run on ladders, 2x4s, rails, or anything you can think of.

As a Cinematographer myself, I was frustrated by current dolly systems. There wasn't anything above a slider but bellow a Fisher that was the right performance to price. Sliders are great, but if you want to go 8' it'll cost you $8000 to own one and it weighs a ton. Full size dollies are amazing, but for low budget productions or tight spaces, you will have to look elsewhere. I don't believe this product replaces anything. It fits a hole; fills a void.

Originally, I had no plan on creating a product. I just wanted a dolly myself. I thought about buying one, but I couldn't find a good ladder dolly for less than $3,000. I didn't want to make it at home because I knew the tolerances wouldn't be precise enough. Because of this, I turned to professional machinists that conventionally create parts for power plants. We opted to have the parts made by computer controlled machines. And what resulted surprised even me.

There is no lateral play. The robust aluminum parts give it a weight and inertial that provides smooth acceleration and deceleration even with light cameras. In total, 24 replaceable silicone rings provide a soft smooth roll even on rough surfaces. The aluminum inner wheel provides lifelong strength backed, in turn, by 24 high-performance Red Bones skate bearings. It comes with two mitchell mounts, one embedded low in a cheese plate for an optimal low center of gravity, another mount on removable 6" risers to elevate the camera. All connected using adjustable rails to allow it to fit on any ladder 15"- 22" wide. The rail system can be replaced with any length 8020 extruded aluminum rails to any width up to 12'.

The prototype worked really well. And with my friends' encouragement, I have decided to sell them. I still use the same local machinists, and with the bulk orders I am able to reduce the cost drastically, whereas the prototype cost me $1,200 to make, I am able to sell them starting at $899.

I want you all to know, I'm not doing this for myself. I couldn't have picked a worse time to use my savings to start a small business. In a few months, I start grad school at the American Film Institute. And quickly thereafter, I'll be in debt up to my eyeballs. It's going to be a while before the business makes any profit. This is more of a burden than anything, but I'm doing this for the film community. For you. I believe in this new breed of filmmakers. We are innovate, problem-solving cinematographers. We think on our feet, and aren't afraid to challenge conventions.

This is my contribution to our unstoppable force.

And please provide any feedback as to how I can make the website more informative. I just launched it last week.

I don't think the difference would be that dramatic. You might not see grain in every circumstance. You would definitely want to make sure you have a thick negative.

Super 16 cropped to 2.35 is 5.3mm x 12.5mm giving you a diagonal of 13.6mm and an area of 66.25 square mm's

Regular 16 cropped to 1.85 is 5.5mm x 10.26mm giving you a diagonal of 11.6mm and an area of 56.43 square mm's

And for reference Super 16 is 7.41mm x 12.5mm giving you a diagonal of 14.53mm and an area of 92.6 square mm's

The difference isn't incredibly great. They are almost exactly the same height on the negative.

You're stock choice and post process would probably have a greater effect on the resulting image.

You do great work. That shows. The only thing I felt was that it was a bit too random. I'd put cuts from the same works together so that directors can get a taste of how you can create a unified look for a piece.

I loved the look and colors a lot. I found three things I would have changed.

1. Screen direction. It's a general rule that going right to left means you are moving backwards, kind of like regressing. Left to right however, feels more like you are moving forwards. I would have had the runner moving that direction.

2. Shoe, I would have changed the shoe. It was a bit unexciting for the exciting feel of the spot.

3. (This one isn't related to the cinematography, more of directing) The runner(s). I think you just used one runner. I would have used multiple ones and had them actually running. It appeared they were just stepping in spot to hit their mark, felt a little slow. I'd have them full on running to give it more energy.

I thought I'd share this with the community. I created a kit of custom lighting and camera icons for lighting plots. It's a free download from my website.

Download the Light and Camera Iconography Kit

I was always frustrated by having to draw little ugly squares in Microsoft Word and having the Gaffer ask me if X square was the 2K square of 5K square. So, I spent some time and made a nice little set of icons. Over the years it has grown and I figured it was time to set it free into the world.

Take a look, tell me what you think and if anything big is missing. I plan on releasing a version 2 in the future once it has grown enough.

I'm trying to build a custom mitchell mount into an aluminum plate. Much like this one:

I was looking for the important dimensions. I can't seem to find them anywhere--at least not specific enough to machine with.

I need the:

Insert width & depth

Hole width & depth

Key width

I'm not sure the hole depth is important, but I'm going to assume it is for now.

Any help would be greatly appreciated.

Did you ever find the dimensions? I am looking for them myself.

I sold the iscorama this morning actually. Thanks to everyone for their interest.

I'm selling one of my Iscorama 36 Anamorphic Lenses. It comes with original 50mm Nikon mount lens, and includes an EOS adapter for shooting on your 5D Mark II or 7D.

The price I'm looking for is $1,400.

The lens casing is damaged slightly with a chip on the focus ring. See the pictures. The damage was professionally repaired by the previous owner. Throughout the time I have owned it, I have had no problems from this damage. The image quality is superb. The chip is purely cosmetic. Diopters and all other filters screw on smoothly as well.

There are NO:

• Light leaks
  
• Fungus
  
• Focusing Issues
  
• Aperture Issues
  
• Scratches on the glass
  
• Sharpness Degredation
  

Other than the chip, this lens is in EXCELLENT condition. I also own a mint condition Isco 36, I have shot with both and notice no difference between them image or function wise. And considering I bought that lens for $2,100, this is a pretty good deal.

I shot this footage with this exact lens.

Insured shipping with tracking is included in the price. Please email me with any questions.