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Hunter Sandison

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About Hunter Sandison

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  • Birthday 10/06/1977

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  • Occupation
    Camera Operator
  • Location
    Los Angeles, CA

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  • Website URL
    http://www.imdb.com/name/nm2028931/
  1. Canon makes an adapter which allows you to put canon Ef still lenses on an Xl mount. The format change makes every lens something like 7x more telephoto so it seems to only be very practical for nature videography.
  2. Hi Shaun, The "full load" section of the inventory sheet should be filled out with a footage count not a roll count. If you get a nice round number (divisable by 1000', 400' or a combination of the two) do a quick hard count to confirm the number reflects the reality. Don't forget to count the hot mags loaded for the next day. Next add the "full roll" footage count to the "short end" footage count. The number you get should be the same as the "total raw stock" count (this is sometimes called "total film on hand", every stock should have a seperate inventory). Now you add that number to the "total film shot" or "total film expended" count and the sum should equal the "total film purchased" count. If you're square here its time to go home. I hope this helps.
  3. Hello Satuski, What's a batten? I realize connotatively from your posting that it is some sort of lamp mount. You must forgive my ignorance but I have always been Camera Department and never a juicer nor grip. It seems that it cannot be one of our standard lighting grids because you lowered it to 3' (with stage walls). If not on a stand nor a point, what is a batten? I've worked as an A.C. in Los Angeles for a couple years now and gained a lot of experience(I'm by no means an seasoned veteran nor any kind of expert). From what I've seen, first shot off in an hour and ten minutes is a respectable time. Don't be so hard on your crew. Student or professional, set ups take a little time. After the first scene things tend to go much more smoothly(if properly planned) barring any stunts, guns, or problems with picture cars or actors. From what I understand of your scene, you have none of these issues. The lighting diagram is very interesting. I only wish it had the camera positions too so we could see how you covered the scene. Also what's an I-Ring. I' ve put nets and gel filters behind many lenses (although the whole idea seems less popular lately) but I don't know what an I-Ring is. Again my ignorance is showing but this time its Camera Department territory( and that can't happen). Tell no one.
  4. I don't know anything at all about these large formats and would appreciate a quick education. What's this difference between the 65mm and 70mm films? Is 65mm a production format and 70mm a projection format? Also, what is IMAX? Is it captured and projected sideways so the vertical frame not the horizontal is 70mm?
  5. Visual Products offers a s16 and PL mount conversion for the CP-16. According to their website they're the only company that offers this service. http://www.visualproducts.com/servicesProd...=92&Cat2=93
  6. This is a cool trick. But doesn't the depth of field grow with distance to subject?
  7. The Seimans Star can give false focus in HD(about 18" off, I think). I don't know why but thats what I've been told at the rental houses. For this reason they use an HD focus chart. Its made of concentric rings instead of the triangles and is lower contrast. Its usually black and grey instead of black and white. If someone could enlighten me as to why this is, or if its true at all, I would appreciate it.
  8. Let me preface by saying that I'm a simple A.C. and have never dealt with the financial aspects of filmmaking in any capacity. Every feature I've worked on was under 1 million and every single one used a rental house camera package. The nice thing about this situation is if you don't like the way a lens tapes out you can send it back for another. If a mag developes a jamming habit on set, have it replaced. The movie can march on unscathed with no delay. That being said what about buying a camera and then selling it after principal photography wraps. It seems to me that the value of the camera package would depreciate very little over the three or four weeks it takes to shoot your movie. Then you sell it for as close to the purchase price as possible and put that money towards post. Obviously, this is for very low budget movies only. You'd need to have that that initial money. Also it seems risky in that if the camera breaks you cannot continue shooting nor can you sell it for anything close to the price you bought it for. Would this work or have I overlooked something vital. No one seems to operate this way in L.A.
  9. Thank you for the clarification, Mr. Mullen.
  10. So you shot a wider profile 2 shot as your master and then punched in for a closer profile 2 shot from a similar angle in lieu of OTS singles? Did I understand correctly?
  11. This is an great idea. I truly hope you can make it happen.
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