Alan Rencher

Most monitors (Marshall, TVLogic, etc.) have built in frame guides.

Being as everyone has there own specific needs, it may be best for someone to offer you some of the most popular options to at least narrow your search down. I always say that you should get a camera that works with your shooting needs, and that's the one thing that you left out. What will you be shooting? If it's for personal projects, you may not need something as elaborate as the FS700. You can get an FS100 or an AF100 very cheap now. DSLR's are a good option. I see that you are not in favor of that, but I'm trying to figure out your logic. The ability to follow focus on these cameras are no different than an FS100/700, AF100 or any other interchangeable lens system. Does that mean you're looking for autofocus? You'll have to buy a fixed lens system for that. You might try one of Panasonic's HMC line if that's a big issue. For audio, you might want to look at a DSLR with manual audio controls and buy a simple XLR adapter. The 5D mkIII, Nikon D800/600, Panasonic GH2/GH3, and some others have manual audio control. Or you can record dual system. That's what we do on every set. We always have a sound mixer recording to his own recorder. That is unless you are not doing narrative work, or do not have a crew; you haven't said if that's the case. You say that DSLR's are not designed as video cameras, but the show Wilfred is shot exclusively on DSLR's (5d & 7D, and now Nikon D800 with external recorders.) At this point in the game, so many things have been shot on DSLR, it's mind-boggling. Really what I'm trying to say is: It's not the camera that makes a good project. So many things go into making it, and you just have to find what fits your situation. And you haven't even mentioned an even more important aspect of this purchase; what lenses are you going to use? It is way more important to have high-quality lenses than a fancy camera. That's just my two cents.

If the bay lights are being used as practicals (which means lighting that is also part of the set), You might be able to get some 300W incandescent bulbs and build something nice.

In my opinion, this site has some of the best info on Nikkor lenses: http://www.kenrockwell.com/nikon/nikkor.htm#mf I have a Nikkor 50mm F1.8, and it's super sharp, and probably sharper than the F1.4, however, some people prefer a softer image when shooting HD or 4k to achieve a less "video" look. It's all up to personal preference.

I don't think I've run across 4k fresnels (5k or more common). that just means that it pulls 4,000 watts of power, and a fresnel is a type of lens (fresnels are also used in lighthouses). A par can is a light without a lens (you may have seen these lighting many stages at concerts). Again, the 2.5 is just referring to the power consumption, 2,500 watts. As for bay lights, that is most likely referring to house lights in large studios. Those are the same lights that most warehouses use for over-head lighting.

Ask the New Bev how hard it is to try to keep film alive. They operate at a loss. Studios are making it hard (near impossible) to check out their film prints anymore. You might only be able to show your own film prints.

You want an entire industry to change because you can't invest in a better projector / screen combo?

There is no black and white answer to that. There are a lot of variables. First, why are you upgrading the camera? Do your clients have need of a higher-end camera? Do they have a preference? What kinds of work do you do mostly? Docs, shorts, commercials, music videos? What bit-rate and colorspace will be required for your deliverables? Is it web, TV, Theater, or Blu Ray content? There are so many things can affect a decision, and the advice that I always give to people who have to ask what gear to get is: If you have to ask, you should not be buying anything. Rent for a while until you just know.

I use Zoho invoice. I've tried a few different systems (including Quickbooks), and I like this one the best.

Resume link: http://www.alanrencher.com/about/ | Reel link: http://www.alanrencher.com/category/reel/ | Equipment list: http://www.alanrencher.com/gear/ ---------------------- Here is a little bit about me: I have been working professionally as a Cinematographer & Steadicam owner / operator on live concerts, shorts, music videos, docs, reality TV and commercials since 2009. I graduated with a degree in Digital Filmmaking and Video Production from the Art Institute of California - Los Angeles in 2010. I own a Steadicam Zephyr (23 lbs net camera payload capacity), A Bartech digital wireless follow focus, Wireless HD video assist, Nikon D600 w/ 10-bit external recorder & more. ---------------------- Cinematography Reel: Steadicam Reel: Camera Operator Reel: http://youtu.be/3CJX4-QR4jM

Email: alanjrencher@gmail.com I built this car mount set for the purpose of renting out, but I've decided to invest in other equipment instead. It is all unused. I paid over $1,500.00 for all of this with taxes. I'm willing to take the best reasonable offer. Serious offers only, please. Car mounts include: Filmtools Mini Ball Leveling Head w/ 3/8-16 & 1/4-20 tie Down Slots (Retail $359.00) Mathews Mini Grip Heads x8 (Retail $24.00 each = $192.00) Mathews Micro Grip Heads x8 (Retail $36.40 each = $291.20) Gutter Hooks x2 (Retail $14.99 each = 29.98) Hot-Shoe Mount (Retail $26.95) 3/8x4" x4 Aluminum Rod (tapped 1/4-20 w/ threaded rod) (Retail $5.20 Each = $20.80) 3/8x8" x4 Aluminum Rod (tapped 1/4-20 w/ threaded rod) (Retail $7.00 Each = $28.00) 3/8x12" Stainless Steel Tube x4 (Not Pictured, Retail $695 Each = $27.80) 3/8x24" Stainless Steel Tube x4 (Not Pictured, Retail $8.95 Each = $35.80) 1/4-20 to Baby Pin Adapter x2 (Retail $3.75 Each = $7.50) 5/8" Baby Starter Pin 3/8-16 to 3/8-16 (Retail $9.25 = $12.50) Mini Matthellini (Retail $43.50) Wood's Powrgrip 6" Suction / Vacuum Cup w/ 1/4-20 Spud x4 (Retail $49.95 Each = $199.80) Wood's Powrgrip 6" Suction / Vacuum Cup w/ 3/8-16 Spud x2 (Retail $49.95 Each = $99.90) Wood's 4.5" Suction Cup w/ 1/4-20 spud (Retail $39.95) Extra Hardware

I noticed that too, and then I compared it to an HPX-170 to find similar results. I'm still trying to find the best shooting set-up. Do you have any suggestions on what we could do to get the most out of the footage on the AF100?