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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. I've flown with exposed and unexposed film before with no real issue, basically what Shawn said above. You may have to request a supervisor or older TSA agent as younger ones may have no idea what you mean when you say it cant be X-rayed and that it is motion picture film. While I've never had to do it, I've heard several anecdotes about TSA asking to open the cans to verify the contents so bring a changing tent/film just in case.
  2. **Edit to the post above, It's not a bug in pCam so disregard that bit. I didn't take into account that the DOF calculator is using a different circle of confusion between the two formats. While CoC does matter in depth of field calculations it doesn't make that big of a difference as you are arriving at similar numbers.
  3. I checked this against my pCam and got the same result. I'd chalk it up to a programming error as a 50mm lens at T4 set to the same focus distance should net you the same result on both formats. It's a misconception that a larger format means less depth of field as it doesn't have anything to do with the format size it self but rather the focal lengths you will be using to achieve the same FOV of the super35 images we are so used to. If a lens had an infinite image circle that could cover any format, think of that image circle as our "pie". The size of your format is effectively the "slice" of that "pie" that we are taking. The physics of the lens remain the same in regard to the DOF. This is how on s16 a 50mm lens feels more like a 100mm lens in terms of field of view but it has the DOF of a 50mm lens. If you put that same 50mm on s35 it would feel like a 50mm FOV (if we're using s35 as our baseline) you're now just taking a larger "slice" of the 50mm "pie". On a "full format/LF/VV/" camera, that 50mm is going to feel more like a 32mm but its going to have the DOF of a 50mm, you're just now taking an even larger "slice" of the 50mm "pie" in terms of FOV.
  4. Try Cine Facilties in the Netherlands https://www.cinefacilities.com/
  5. If you're looking for accessory power from an Aaton it is a Lemo 1b 6pin for 12v. You're more likely to find a 6pin Lemo to 4pin XLR for monitor power. The Hirose 6 pin on transvideo monitors is for the combo power/video cables commonly found with Arri IVS systems and certain Aaton video tap's. That cable would be a 6pin Hirose to 4pin Fischer. Try Abel Cine LA or Alan Gordon
  6. I have an A-Minima Mag I can sell. The mag is in excellent condition, unfortunately I don't have any daylight spools for it.
  7. There's only a vantage LA as far as I'm aware. With the 35mm format 1.3x you'll be limited in the wide focal lengths as the 1.3x s16 set goes to 14mm where the 35mm only goes to 28mm Typically 35mm lenses are safe to use on 16mm camera's, as always test first if possible to avoid a mirror strike incident
  8. It would have to be an older unit like a WFU or a yellow radio WCU-3 and I believe your motor options would be limited to CLM-1 or 2's. A friend who purchased a 416 inquired with Arri about upgrading it to the white radio band but they did not have it done, I don't recall the exact figure but it was fairly high. If you're looking for a streamlined wireless solution for a 416 you'd probably be happy with the new CForce RF motor with a WCU-4. They're new and available, offer lens mapping and daisy chaining for motors. The receiver is built into the motor unit and in the case of the 416 with one cable you would get power and run stop.
  9. The Cinetape is meant to be a confidence checker as well as another measuring tool for focus, it works great in some situations and not as well in some others. Setting it up: When you put the Sensor on the camera, "The horns," you want to set it as close to being on axis with the lens, picture it directly above the lens, positioned over the center of it, as close as possible without anything obstructing its sensor such as a matte-box or french flag. Once you have the horns positioned, and it's connected to the display/control box, you set the film plane offset. The Cinetape doesn't know where it is positioned in relation to the film plane so you must calibrate it. By pointing the camera at a flat surface; a wall, slate, clipboard etc. you measure out the distance to the object it is pointing at and you adjust the offset until the Cinetape reading matches your measured distance. The last thing you do is adjust sensitivity, the higher the number the more sensitive it is going to be. Everyone has their own preference but 45-65 is a good place, not too slow that your numbers are behind and not too fast that they become unreadable. When to use it: The key to using a Cinetape is knowing when it is and isn't going to work and work accurately. If you attempt to just match the numbers that the Cinetape is displaying you're going to run into focus issues sooner or later. You will get the best results from a Cinetape when there are no obstructions or people crossing in the frame. For example a push in/out on one subject or one subject walking up to the camera will probably give you the best readings. The focus puller should have either measured out marks or made eye marks for the shot and the Cinetape will help you to fill in the blanks. It's helpful in preventing pulling too fast or too slow or if something unexpected happens, The dolly/steadicam/actor might stop short of their end mark or they go past their end mark, you can use the Cinetape's distance to help you adjust it on the fly. Say you're doing an unrehearsed Steadicam shot on film, it has lots movement from both the camera and the subject and focus cannot be checked through the viewfinder or from the low res video tap image. Most focus pullers should have the ability to judge a distance by eye and this is where a Cinetape is helpful to fill in the blanks and see if you judged the distance right. You think the subject looks about 6' away from the film plane, the Cinetape says 5'9" and there's nothing obstructing, its a safe bet to set focus to 5'9. Towards the end of a take the subject moves behind a column, you think they look about 9' away but the Cinetape is saying 7'. This is when you would ignore the Cinetape and trust your best judgment of the distance. The Cinetape has a range of around 20'-30', if you're on a 1000mm lens and the subject is 150' away, the Cinetape is essentially useless. The Cinetape also cannot read through glass, so if your subject is behind a window, in a car or in a mirror your distance readings will not be accurate as the Cinetape will just read whatever solid is in front of it. The Cinetape takes its readings in a cone shape, this means that it has a wide area that it is sampling and it is going to display the distance of any object that is large enough and within its sample area. If your subject is 12' away but they are standing behind an object like a dumpster, the Cinetape is likely going to display the distance to the dumpster instead of your subject. This is why it is best used in conjunction with measured focus marks so you can tell when the Cinetape is reading your subject or if it is reading the wrong object in the frame. A common limitation with using the Cinetape would be the over the shoulder shot. The hero subject you want in focus is on one side of the frame and the other actor in the scene is closer to the camera on the other. Say the hero subject is 4' away and the closer subject is 2'6" away. As the scene plays out you're likely going to see the Cinetape jump back and forth between the close and the far distance and you need to know to ignore the 2'6 reading. If you were just matching the number to the Cinetape during the shot, you're focus is going to be going in and out. Some assistants will adjust the positioning of the horns on a shot like this to help the Cinetape clear the closer subject and try to only sense the hero subject, results may vary. There's lots more to it but I'd say thats the meat of it.
  10. You want an analog to digital converter, these would allow you to use modern monitors and recorders from the analog tap on the SR. Some converters only convert analog to SD-SDI, some will scale the video up to 1080p which is helpful because some monitors/recorders won't work with SD-SDI and need HD-SDI to function. Atomos analog to digital + scaler 1080p HD-SDI/HDMI out Wicam Analog to HD-SDI 1080p HD-SDI only There's cheap analog to HDMI converters all over amazon, I've seen people use them but I cannot speak to the quality/reliability. If you get a monitor with an analog input will work without a converter. Tvlogic 5.6 and the older 7" models will accept an analog input but the signal will terminate at the monitor. Older SmallHD's like the AC7, DP1 probably more but I can't think of them. You can find cheap Transvideo Rainbow analog monitors these days +/-$300
  11. I recently found this guy who is based in queens while researching video taps for an XTR. He advertises options for SR's he might be able to help you out. http://www.az-spectrum.com/sr3ccd.html
  12. I've ran an XTR+ off of regular anton bauer dionics with no issue. If you are concerned with over voltage and cannot build or buy a 12v regulator, you can elect to not charge the batteries fully and check their output with a multimeter before use. As stated before most Lithium Ion batteries will be in the 15-16v range when fully charged, a battery at 75% will be in the 14.X range A higher voltage shouldn't have an effect on the running frame rate of the camera, the only risk it would pose would be to the components on the boards and video tap.
  13. There are many good one's that do the same things. I own a Leica disto e7500, it works in direct sunlight and has a builtin camera used to target the laser when its no longer visible in hard light. It also has many functions like adding and subtracting different measurements as well as a Pythagorus function which is great for calculating distance from the film plane to the subject when you only have the camera height and the distance to subject below the camera.
  14. Sure, sometimes theres some play in gold mounts but nothing a little soft side cant fix. I have also never seen a gold mount eject off of a camera from rough operating or inversion before, but I certainly have seen several v-mounts do it. I know this also has to do more with cell quality and configuration but you'll often see owner ops with 10-12 v-mounts to do a job that 8 Anton Bauer's would. There's a lot of v-mount brands out there so some are definitely better than others but I've been conditioned at this point to view v-mounts as lower quality batteries but that's just my prejudice. This is also a regional and production market thing, major rental houses in the U.S. will rarely stock v-mounts and if they do it won't be in great supply. Most of their cameras, monitors and AKS will be already setup for gold mount so it'll be a long while if ever before gold mount declines in the U.S.
  15. Looking for a Heden M26T motor (for analog microforce) with swing arm if anyone has one they would like to sell.
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