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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. Try Andree Martin at AM Camera in LA, its worth a shot.
  2. I'm not sure if they do, they may still have some in stock. My friend had bought his XTR Prod package from Oppenheimer a few years ago and it came with some accessories they had manufactured like the NP battery adaptor. Might be worth shooting them and e-mail, they may be able to point you in the right direction if anything. Could also try Pierre Michoud (pierrem@aaton.com) he still works for Aaton/Transvideo and I've heard they still have some stock of Aaton factory parts. If they don't have anything like that he could also probably point you in the right direction.
  3. I've never seen a long extension like that before but the short one's were pretty common. I'd try places like Oppenheimer, Alan Gordon, VP, Serious Gear, Rental houses or maybe the Aaton Anonymous facebook group to see if anyone has one lying around they'd want to sell. RE: Left handed grip, my friends XTR package came with one but I haven't seen one since. I think it may have been made by Oppenheimer camera and it also featured a double sided LW 15 clamp so you could use L/R wooden grips at the same time. There's also these foam grips floating around that you can attach to either side, I'm not sure who made it but it came with my XTR when I bought it.
  4. There are several adaptors for the Aaton mount that would allow other lenses to be used without having to convert the camera body to PL. Arri B, Nikon and I believe a few others. Lenses like the Canon s16 zooms can also be easily converted to Aaton mount, the AA mounts for those are floating around eBay and visual products if thats a route you want to explore.
  5. Hi Arnaud, When you say tools do you mean items like screw drivers and such? The later part of the post about split diopters refers to equipment AC's would use rather than their basic tools they would bring.
  6. Aaton's require continuous contact closure to run. The rocker switch is a simple mom-off-on type of switch similar to a microforce run switch. The momentary side just briefly connects the start pin to ground which phases the camera. The on side of the switch closes the circuit and holds it until the switch is moved back to the neutral position which allows the camera to run instead of just phase. This is the case for most of the Aaton's, 12v Arri film camera's and Panaflex cameras. In the case of the XTR Prod, Xtéra and Penelope, Preston MDR's support a continues run/stop from the 8pin Lemo on the camera. I'm in the process of making a converter box for my Aaton that will allow momentary run/stop commands to work from a wireless follow focus. I'd be happy to share the results with you when it is finished.
  7. 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.
  8. **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.
  9. 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.
  10. Try Cine Facilties in the Netherlands https://www.cinefacilities.com/
  11. 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
  12. 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.
  13. 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
  14. 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.
  15. 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.
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