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Evan Walsh

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About Evan Walsh

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  • Occupation
    1st Assistant Camera
  • Location
    New York
  • My Gear
    Aaton, Arri, Canon, RED

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  1. What Satsuki said, 138 (or 4.5 round) are useful for effects filters like Star's allowing you to dial in an effect. Pola's, Diopters and Stars will be the most common round filters you'll find. You may occasionally see round ND or Diffusion filters but those were intended more for the threaded mounts you would find in the photo or ENG world where you may not be using a mattebox.
  2. Will it cause catastrophic damage to the camera? Highly unlikely. However you may find some registration issues or you may cone your feed or take up side depending which side is placed facing the ground. I think ultimately you would be fine but couldn't hurt to shoot a test before hand. It makes me think of when people "sloppy low mode" a film camera on steadicam and just flip the sled as they would on a digital shoot instead of properly mounting the camera for underslung operation. 98% of the time its totally fine, occasionally you will run into either scratching, registration or jams when running a camera in a strange orientation.
  3. #3 looks like some sort of run/stop remote switch. It should have either a Lemo 1B 6pin or a Lemo 0S 2pin on the end unless someone cut it off. #7 is a bag of fuses. The cylindrical ones would go inside of the batteries they should be rated for 5A if you look as the inscriptions on them. The Shorter silver one would go into the body and should also be rated for 5A. The small oval shaped one with the long leads is the style you'd typically see with an SR but I have heard of people trimming them to fit into an Aaton fuse compartment when in a pinch.
  4. Sigma cine zoom's Why: Speed, size/weight, quality, brand recognition, people won't be suspicious if you show up with one as silly as it sounds. They have been available for while now and I have not heard any people have serious issues with them so they have been proven in that regard. They are also readily available from many rental houses now so if one of your lenses goes down you could easily rent a replacement in most markets. Why not: Breathing, the 50-100 especially. Mount is not user swappable.
  5. I know there are Nikon mount adaptors for the Aaton mount, one came with my XTR when I bought it. There may be others but the diameter of the Aaton mount may be the limiting factor in what kinds of lenses you can adapt to it. Try Serious gear and/or VP they may have some mount adaptors in stock.
  6. Does your setup use screw in rods as seen in some shape or zacuto baseplates? Screw in rods can be troublesome for lens motors, if that's not the case try calibrating on a lower torque setting. Do the lenses telescope as they move through the focus range? This can also cause motor issues if you're using a clip on matte box as the weight of the matte box will cause the focus mechanism to bind and the motors will kick off. If none of the above apply, try calibrating at a lower torque and as Kyryll said apply gentle force to the motor to keep it on the lens. Once it is calibrated you shouldn't have to worry about it hitting an endpoint and kicking off.
  7. Check eBay, there's several nicely priced 435's as well as many 35-3's, Moviecams etc.
  8. No it worked pretty good. That gasket I speak of was just tape doubled over, you could comfortably smush your face into it as it would flex around you, the velcro on the other end help seal it to the monitor as well. I made it while on a feature a few years ago out of necessity, we were shooting in open fields with minimal shade and direct sunlight, did the job well enough.
  9. If there was a way to make it fold flat that sounds like a good idea. This was my rather gross looking coroplast and gaff tape solution, made the face "gasket" out of doubled up black gaff. Served me well enough for a while,
  10. Honestly you're on the right track with the goggles thing, Tvlogic even makes an extended hoodman with a curve on the end to comfortably stuff your face into it. That's about as good as it gets, I made an extended hoodman for mine out of black coroplast and gaff tape.
  11. I'm assuming you're asking about the aesthetics of the lenses but there are some big differences technically speaking between Arri and Panavision lenses. Flange depth and lens compatibility is going to be the biggest one. Panavision is 57.15mm and Arri is 52mm. This is why you can "Panavise" most film and digital cameras from other brands whereas you would not be able to use non Panavision lenses on a Panaflex body. There are exceptions to this with some lenses like the Angeniuex zooms which can be adapted to both. Panavision also used different gear pitches for iris and zoom up until recently. From an AC perspective this can be a pain since since no other company really does this (Zeiss HS MK1/2's had different iris pitches). This was because the Panavision model was a proprietary one for a long time, they would provide every nut and bolt and had a specific accessory ecosystem designed around their platform. Arri doesn't actually make their own lenses, Standards, HS, Ultra's, MP's, LWZ etc. etc. are made by companies like Zeiss and Fujinon and cobranded as such. Aside from things like Master Anamorphic flare sets, factory uncoated elements or 3rd party modified lenses like Cam-Tec's uncoated Ultra Primes. "Arri" lenses will come with a set look for each series since they are intended for sale on the open market. Some rental houses will do some of their own modifications but generally "Arri" branded lenses will stay the way they came from the factory. Panavision made/makes a lot of their products in house. Even though they may outsource some of their manufacturing it will still be something designed and made under the Panavision brand. This is also the basis of Panavisions "de-tuning", since they make their own lenses they can offer levels of customization lens to lens that other rental houses/vendors cannot.
  12. A friend recently replaced the front element on their Mk1 so Schneider/Century may still have some stock on these. Might also be worth hitting up rental houses like VER, Bexel others that specialized in an ENG type field. I could see them having an Extreme fisheye somewhere in the inventory that they might be willing to sell. Also big fan man.
  13. When you shot your tests did you have a lens on and in a lit environment? Might be worth running a bit of film with no lens, eyepiece closed and the camera covered in a dark room to rule out it originating from inside the camera somehow.
  14. Is the fogging on the perforations as well or only in the image area? Since its on the left side of the image it would have originated on the right side of the negative. Maybe the top magazine port had a small leak or something in the video tap assembly or eyepiece was introducing stray light? Thankfully its small and subtle enough that you still have a large useable image area if you decide to crop.
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