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Ryan Fleet

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Ryan Fleet last won the day on June 25 2018

Ryan Fleet had the most liked content!

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About Ryan Fleet

  • Rank

  • Birthday 01/15/1991

Profile Information

  • Occupation
    Editor
  • Location
    Buffalo
  • My Gear
    Bolex Rex 4
  • Specialties
    Video Editor - Colorist

Contact Methods

  • Website URL
    http://www.Cumbo.com

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  1. Selling a mint condition professionally serviced Cine-mod with aperture declicked and metabones speedbooster compatible Zeiss Contax 35-70 F3.4 MMJ Lens. eBay Link - https://www.ebay.com/itm/153897713507?ssPageName=STRK:MESELX:IT&_trksid=p3984.m1555.l2649 Used this lens entirely for this styled wedding - BMPCC 4K + Metabones Speedbooster XL And then also used it on this styled wedding (everything except the gimbal wide shots) BMPCC 4K + Metabones Speedbooster XL Serviced by Bernie at Super16inc - $244.69 Simmod EF conversion mount - $69 Simmod 85mm OD + Lens Cap - $58 FollowFocusGears - $40 Rear authentic Zeiss ZE Lens Cap - $20 OPTICS are mint NO FUNGUS NO HAZE NO SCRATCHES NO BALSAM SEPARATION NO OIL ON BLADES The lens focus is smooth and the zoom push is fantastic. Even going into macro mode feels great with no hiccups. The de-clicked aperture has a strong but smooth resistance so you can't just bump it to a different aperture when shooting. This lens was completely serviced and disassembled and cleaned and lubed and then it was put back together and collimated/calibrated. Shipping will be fedex ground signature required with insurance.
  2. Selling my Last Kern Switar lens -- I last used this on a Bolex Rex 4 about a year ago to shoot this https://vimeo.com/364691404 It has been sitting unused for about a year in a pelican case. The lens has small dust inside when you shine a light through and the aperture blades are starting to show signs of oil on them other than that it looks good. eBay listing - https://www.ebay.com/itm/153880531794
  3. Mark, Thanks for the link! I’ll buy this and test it out. This set up is for a very specific scenario where I don’t necessarily need the monitor to tilt and I cant use a shoulder rig. I want to keep it really minimal for a travel film. However, I would love to be able to swivel it so i can line it up directly in line with the top handle. This option I’ve actually been eyeing and could work if it doesn’t slip when I put pressure on it. The downfall is it looks like that it’s going to add a decent amount of height to the rig. I just ordered it and I’ll let you know. I wish Zacuto made a Viewfinder for the BMPCC 4K specifically—but they said the screen is too large, when I emailed them. I saw this Viewfinder option on eBay but it limits you in the touch screen is covered up and it doesn’t pop off like a Zacuto does since it’s screwed into the camera cage. Granted you can use most of the main setting with the buttons and you can use the Bluetooth app to change settings. Also I spoke with the guy and it may or may not work with my tilta cage. https://rover.ebay.com/rover/0/0/0?mpre=https%3A%2F%2Fwww.ebay.com%2Fulk%2Fitm%2F254379502952 Thanks for the help Mark, I appreciate it.
  4. I’m sure there is a simple fix to this but I’m having a tough time finding some solutions. I figured someone here could point me in the right direction of some items I haven’t looked at yet. Currently I’m using a double sided 3/8 screw mount to screw into my tilta camera cage handle and then into my VL35 monitor. I’m creating a cheap EVF for my BMPCC 4K camera for another point of contact (see images). It’s super sturdy and works great, however every time I screw it on the monitor ends up facing the wrong way. I have to cycle through a bunch of different screws until one of them kind of gets close enough for the monitor to face the way I need it too. Obviously, I exclusively use this screw now as my mounting option. It’s not perfect as I’ve never been able to get it perfect. But it kind of works. I’ve also used a hot shoe option but it wasn’t sturdy enough at all. I’ve used a magic arm which was worse than the hot shoe mount. (Cheap and semi expensive brands) would gladly pay for something extremely sturdy but Not sure this is even the correct route to go. In a perfect world the monitor would sit super low like this (to the top handle on the cage) and be able to be adjusted and locked in the correct position all while being extremely sturdy so I can push my eye against it as a point of contact. And it can’t get loose through out the day of shooting. Fantasy world I know. Currently I’m looking at the Ram ball head mounts. Lensrentals uses these and they are extremely sturdy but really large. I would really love any sort of feedback of ideas to try to make this work better. google drive link to the rig https://drive.google.com/drive/folders/1-jKS1GpjVHYuFf7JdQ8N0pr7roKCJbFr
  5. Great info, I'll look to bring more travel pop up negative fill. I was thinking of throwing one directly over top of the talent and then one on the side to create some shadow then using a really soft light to fill in and maybe add an eye light. I did some digging and I think I found the spot you're talking about. Was it for Vice? Looks like you kept it tight and shallow and then the grade was a little desaturated probably because of the mixed lighting? Thanks Robin, yes, i'm from the US, I'll use 1/60 shutter to be safe!
  6. Thanks for the feedback, very helpful! Max, this is going to end up on their social channels and played at an annual internal conference. I have some Dracast Daylight LED panels I'll bring one of them with a soft-box, gels, and V mount to Power. I'll have some negative fill and bounce on hand. Most of these stores are in a mall setting with no windows so that is my biggest concern. It may or may not be that big of a deal because generally malls have giant windows on the roof that by placing the subject closer to the store opening I should be able to get some of that daylight coming in. But obviously you never know until you get there. Good point about the audio. Trying to get the internal music turned off in the store will be very important. Hoping the internal Mall music isn't going to be terribly loud. I thought about using my zooms the Canon 24-70 F2.8L and the Canon 70-200 F2.8L but was thinking maybe to get a little better of a look to use the primes. However, I agree with you that zooms are going to be easier to work with, so I might leave the primes out. Something I didn't mention; I'm also thinking of having another camera body with same settings set up with a wider focal length to go at any moment. Either on a Ronin-S Gimbal or just hand held. I'm thinking about B-Roll and also portraits of the talent shot HFR with a little push in. I'll have to get an assistant too. Good point about not wanting to leave gear around un-attended and shopping malls can create long walking distances between your car. Robin, frame rate is 23.976 1/50 shutter but I'll have to adjust it to get rid of any present flicker from the practicals. Bottom line is I'm just going to have to work within my constraints because I can't bring a lot of my gear. I just wanted to be thoughtful about the look of this to the best of my ability. I'm going to try hard to turn the practicals on or off for my needs and place the talent where I need them. From what I know the talent is eager to be on camera and know I'll be coming in advance so that should work in my favor. Thanks again for the feedback.
  7. I'm shooting some retail interior store interviews during store hours. Most are located inside store malls. I'm told I can't disrupt traffic in the store so turning off some of the lights might not be an option. I'll be shooting with two Sony A7sii and some Zeiss Milvus lenses. 25, 35, 50, 85 F1.4 Trying to figure out what I can pack for lighting that I can easily travel with and fly with - with a solo crew. Keeping a small footprint in the store is going to be some what important. The stores are not going to be the giant stores like a Macy's or Jc Penney's. I'm told it will be a small store like a jewelry store. My first thought is to just keep it simple and bring some negative fill and do what I can with it. Another thought I had was bringing a very simple china ball or something that could just add some very soft fill to the face. These obviously aren't high budget but I do want them to look good, given the circumstances. Does anyone have any tips on things that could be useful in a scenario like this?
  8. Will, My original model Scoopic was pretty accurate as well, after I found the film plane and then marked on the outside as Dom suggested and Robert did. I have no complaints with the original Scoopic other than the obvious lens is just not sharp on the original Scoopic. I've since sold the Scoopic and bought a Bolex Rex 4 which I'm happier with. However, the Scoopic is a great camera and one day I would definitely love to try out the MS version.
  9. Robert, Sorry, just seeing this now. The Canon Scoopic original model viewfinder does NOT loose light when you change the aperture. Good news is, I'm sure everything in your camera is in working order. Here is a test I did with my Canon Scoopic original model.
  10. Sandra, In short, it is all of the above. But It really depends on the project (commercial, web, theatrical, etc..) and the people involved. Strictly talking feature films the term "Directors cut" is not from the editor making all the choices, but more of the Producers and Studio having the final say. The Producers and the Studio and whoever owns the rights to the movie, generally have the final say in the edit and what gets released to the public. Then, if the director wants too/allowed too, he will work on a (Directors cut) with the editor. This can be released outside of the theatrical public release dependent on what the Producers and Studio allow. As a Director, you generally don't own the movie, you were hired to Direct. Same with the Editor, you were hired to Edit the movie according to the script/creative. Obviously, there is always room for creativity but ultimately you don't have full creative freedom and make all the decisions yourself. There are teams of people behind projects and it's a very collaborative process. At the other end outside of Hollywood productions and feature films you might be delivered a hard drive full of footage and given very limited creative input and you just need to make something "good" for an event edit or product edit, etc... You could be in charge of the edit, music, color, gfx all at once. This is a very short answer and I'm sure others will have better input but I hope this gives you a basic idea.
  11. Selling an FSI AM210 2019 NAB Floor model. I bought as an advance purchase back in March and don’t need it anymore. The monitor arrives tomorrow. Which will have never been opened or used by me. Free Fed Ex ground shipping. Attached my invoice for the advance purchase.
  12. After reading "A T-stop is an f-stop mark corrected for actual transmission (exposure)." - it would be correct for me to say... When I use my Sekonic L-478D meter to measure the light and it gives me a reading of F5.6, I can set any lens marked with T stops to T5.6 and it will be a more accurate exposure compared to any lens marked with F stops to F5.6? What I"m really trying to figure out is since my meter gives me an F stop reading will a cine lens marked with T stops be an issue for me or is it as simple as just setting the T stop to the F stop reading?
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