Andy Jarosz

You're correct here, but it should be noted the allowed concentration of oil haze is less than water based. However--and this has been my personal experience over the last several years--studios set their own restrictions beyond what SAG does, and these almost always include the banning of oil haze. Fox and Disney do ban mineral oil haze specifically. I'm almost always asked specifically to make sure fog/haze will be water based. This obviously really only matters for union shoots, if you're just making movies with friends, use any means you want ? Here's a copy of the info from a Fox call sheet: Also of note here is polypropylene glycol is always banned as well, so be careful before using any of those new tiny foggers that are actually converted vapes. Nobody uses crackers anymore, but an oil based hazer like a DF50 isn't a cracker--it's essentially a very, very fine spray nozzle that atomizes the oil.

It's not so much that's less smooth or even, it's just more visible in thicker concentrations. An oil based hazer will create practically invisible haze that catches light beams. A water based one will create a, well, hazy atmosphere. Water based haze can stick around a long time, but I've actually found the number one thing that affects it's longevity (aside from air conditioning) is people. If you have a party scene with 50 people all dancing, their heavy breathing will inhale that haze out of the air.

An Antari Z-350 would be my pick, a great machine, super portable, highly adjustable, and built to last. And not too expensive. Most people would prefer the look of an oil based hazer, but if you ever plan to use this around SAG actors, it will have to be water based. Oil based hazers are also very expensive. The trick is whatever level you set on the hazer will determine the thickness of the haze. Seems obvious, but it means a thinner haze will take longer to fill a room. Just something to keep in mind. I like the fluid from Froggys Fog as an aftermarket option, and they have their own machines that are quite good as well.

I think the key is, no matter what you do, to make sure everyone in the chain that deals with the image knows what you're doing. You will get cleaner images and thicker negatives if you shoot as you mentioned in your original post, by exposing to a certain IRE and bringing it down in post. By doing that, you're "spreading" that data over more of the available dynamic range. You'll of course lose some when you go to grade the image, but it'll give you more flexibility as you do--you'll find you can push the image more. However, as others mentioned, if a client is going to see the raw footage, or you need to delivery ASAP without grading, than of course expose for the look.

You would likely have a better time switching PL mount lenses to PV

LM is a Chicago gem and their beer selection is second to none. Highly recommended!

The Picture Profiles are just quick ways to select different log curves/gamma. Here's a PDF: https://www.sony.com/electronics/support/res/manuals/W001/W0014771M.pdf Here's the PPs for the A6300: https://helpguide.sony.net/ilc/1540/v1/en/contents/TP0000824626.html PP7 or PP9 are usually recommended, but the A6300 doesn't actually produce enough data to fully take advantage of Slog3.

Even if you're not union, you should still be able to get a copy of your local local's agreement. Mine is as David said, 1.5x after 8 and 2x after 14, which means we get OT pay every day--but the hourly rate is tempered to account for that.

Here's the thing you have to consider though, the unions have one purpose and one purpose only: to protect their workers jobs. In that, there is really no way for them to be lenient--producers WILL take advantage of every loophole and lax rule possible. If you talk to the folks who actually run the unions, they will generally agree that this attitude is aggressive and in many ways stifling to the industry. Every single one of us has been in a situation where the show would have benefited from us stepping in and helping with or taking over a job that isn't ours. But as soon as that's an option--production and UPM's WILL exploit it. The Op is in the bathroom but we're ready to shoot NOW? No problem, just have someone else hop on, it's just for one take, it'll be fine. Now, some folks absolutely do take this as an ego inflator, there's no doubt about that. In general I find it's best to politely agree with these people and move on.

Also open to trades!

Hate to see this go, but alas... For sale is my beloved Arriflex 16BlL camera. I bought it a while ago thinking I'd shoot it more then I did. It works amazingly! --Includes Tobin TX-9 Crystal Sync electronics. Allows you to select any frame rate! --I have added a few custom mods, they are a running light, sync tone, and extra sound proofing. It's ~5-10dB quieter. I also repainted the viewfinder, so It's nice and shiny. --The lens was serviced by Duclos as soon as I bought it. However, the rubber inside the blimp has deteriorated a bit so the focus ring doesn't work well. However, you can take the lens out of the blimp and it'll work great, or you can try and reseat it yourself. Includes camera, two magazines, 80B filter, mag blimp, Angenieux 12-120mm lens, and case. I am also throwing in about 1500 feet of film in various ASAs. Check it out here: http://cgi.ebay.com/ws/eBayISAPI.dll...m=281147317814