zachary holloran

Full Kits Include: Anton Bauer VCLX Cine Battery Anton Bauer VCLX Charger Charging cable w/osha Flight Case Please email: contact.wccamera@gmail.com for photos and more information! or call: 818-779-7811

I am selling a 70-200 T2.9 zoom lens that is in mint condition and has rarely been used. Covers full frame - come on by my shop in Van Nuys to take a look at it. Asking 17,000 or OBO via: PayPal or Cashiers Check Please Contact Zach at: contact.wccamera@gmail.com or call 818-779-7811 for more information. Thank you!

I am selling a Cooke 15-40 s4/i T2 zoom lens. Great condition, and rarely used. I run a shop in Van Nuys and you are more than welcome to stop by and look at it. Asking Price: 29,000 OBO via: PayPal or Cashiers Check Please Contact Zach at: contact.wccamera@gmail.com or call 818-779-7811 for more information. Thank you!

Can you record for 30 minutes consecutively? As in a 30 minute one take?

Thanks Charles. This shot will be happening inside a theater though. So there is no way a truck will fit into that space. Is there any other way/crane that would work?

well the director wants it all to be done in one shot. He won't allow any cuts. Any idea of the technical side of what kind of crane will support an operator with a steadicam? Or how he would be able to step down? I'm not sure if he would be able to operate the steadicam on a crane due to space, being supported, etc.- just trying to piece all these little things together

Hi Everyone, I have been trying to find a company or crane/steadicam model that is able to transition smoothly from a crane to a steadicam operator/rig. I have a big shoot coming up and need to know if I need something made. We will need a motorized pan/tilt hot head on a 50' ish crane for a few moves before we go to steadicam - either that or an operator on the crane... I really need help and am depending on some of you more experienced DP's to have some ideas and solutions. Thanks so much - I know there must be some way to do this, or someone who has done it before. I have watched all the on-shots such as boogie nights, etc. and understand I may need an operator on the crane, which would work as well. Money is not an issue. I have been given an unlimited budget for whatever I need. Please help! me with any information on rigs, cranes, customized equipment, etc. thanks guys, zach

Does anyone know if you HAVE to use an IR on scarlets with ND? I'm shooting a short on the scarlet and trying to cram as much in front of the lens as possible, and needing an IR would probably crush that... Thanks zach

Thanks a ton, Adrian - appreciate it man

Would the same apply to the daylight stock 250? Shoot at 125? Or is it necessary to overexpose that stock by one full stop..

Thanks guys - I really appreciate the help. I wasn't sure if 125 would be too much, but I may run some tests and try it

Hey everyone, I'm shooting a film on Kodak's 5219 500T, and want to obtain a denser negative, but am not sure how far I can overexpose. I was thinking of exposing at 400, but wondered if it would be okay to go to 320... I'm trying to achieve a lower contrast with minimal grain. Any advice would be great - I couldn't find any discussions about this, which is why I started a new topic. Thanks - z

Hey All - So is it best to use the highest shutter possible when shooting high frame rates? I'm shooting 240fps on the Red Epic, and was just wondering what the best shutter would be to make the smoothest, best looking slow motion. I'm shooting in a couple days, and I know it is late notice, but I thought I'd throw something up here anyway. Thanks for the help :) -z

Awesome. Exactly what I needed to know. Makes sense with the shutter - I figured it'd be something along those lines thanks so much David! Always love your help.

I'm shooting another short narrative film on the RED EPIC and wanted to know if there is any vignetting or scan lines when shooting live/practical television screens. Rather than compositing the video in post, I would like to shoot practically and may not have time for a test shoot. The T.V isn't a flat screen - it's an old box T.V. Anyway - any suggestions or ideas would be greatly appreciated as far as settings on the camera to avoid any distortion or settings on the t.v. that would provide for a clearer image. Thanks a lot guys I appreciate it. -zach

Okay Thanks - so there aren't any limitations as far as contrast ratio - as long as it looks alright? I've pushed my ratio a lot when using film, but I know even raw 4k doesn't hold up as much of a range, so I just don't want to underexpose my darks

Hi everyone, I am shooting a noir - styled film on the RED ONE MX and wanted some feedback as far as contrast ratios and how far people with experience have pushed that. I've shot on the RED many times, but I haven't done noir too much - and am not quite sure how far I can push my contrast ratio with lighting for it. Any suggestions or help from experience would be much appreciated :) I know since it's the RED I should probably do some tests and figure out how black I want my blacks and mess with it in color and redcine, but for now I just wanted some feedback of maybe some of you who have already used high contrast ratios on the RED for noir, or darker scenes. Ultimately - I'm trying to figure out how far i can push it while keeping details in my shadows. Thanks :) -zach

Hey everyone, I'm shooting super 16mm on the aaton xtr and wanted to get some feedback on ways of pursuing 2.35 aspect ratio. I know it may be impossible to get ground glass, but is it pretty easy to crop just with tape? I didn't understand the scotch tape method very clearly, sorry. Anyway, I also wanted to know if there is an easier way / more accurate . . . This is my first time doing 2.35 so any advice would help - thanks =)

Hey Guys, I will be shooting a short film about the fall of the Berlin Wall this spring on 16mm. I want to use the new Eterna Vivid 500 and 160d, and was wondering what lenses would be best? I understand that style may have an effect on this, but I thought I'd get a general point of view on this. I'm using the new Eterna Vivid because I've witnessed it's capabilities with detailed blacks and high stops in highlights. Anyway, any suggestions on lenses would be great since this stock is new. Thanks :) - z

Thank you so much David. This helps a lot. I'm glad there are guys out there like you who help the little guy :)

David, I really enjoyed reading about what you had to say about lighting for dark areas. I'm shooting on the RED One with a 320 ASA and was wondering how many stops I had to work with as far as shadows and dropping to black. I understand that my base will need to light even parts that will be crushed in post, but how many stops below the key should my base be with a 320 ASA? And what does IRE stand for? Anyway, I'd appreciate any further assistance in this matter - thanks guys :) z