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Hayden Mason

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About Hayden Mason

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  • Occupation
    Cinematographer
  • Location
    Los Angeles

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

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  1. Selling my pride and joy. I upgraded cameras and need to part with this one. I'm just going to copy and paste the ebay description and a link. Included: -Arri SR2 with super 16 modification -Gold mount piggy-back adapter with working D tap -3x Batteries -4x mags -Side handle (not working) -1x Dual Charger -Power/ misc cables -Arri T Bar -electric eyepiece warmer -Cinematography Electronics SR speed controller. 2-75 fps -extra fuse -start/stop cable -niner splitter box Please see listing for more details and photos https://www.ebay.com/itm/Arri-SR2-Super-16mm-Camera-Packag
  2. Not exactly cinema level gear but I figured I would list here anyways. Selling a set of EF Leica R lenses I've had for a few years and never use anymore. They're great little lenses (sharp but still have character/creamy out of focus areas) but things are all PL these days. All Duclos modded and matched, declicked, ect. All are EF mount so great for any doc red/alexa shooters who want something small and simple. 77mm front threads so they work with photo filters. (I've got promist 1/4, soft fx 2, lowcon, variable ND, Pola I'd be willing to part with as well) Set include
  3. Hi Martin, Any chance this is still around? Thanks!
  4. Thanks Dom! Excellent info. I've discovered the name of the tap: Black Widow...anyone have any experience? Apparently it covers S16 Oh yea this would definatley be for stedicam use, or for directors/clients who demand to see picture on set (until they inevitably get tired of looking at it) Definatley a non essential component but useful in some situations none the less. Nothing I would pay a fortune for. I appreciate it guys!
  5. So, I'm attaching a bit of a clearer image of the tap and a couple of images of the monitor with the tap turned on. The seller didn't have a lens so it is a bit hard to make out the frame guides from the ground glass but I have done my best to highlight them here. There seems to be a bit of distance between the marks for 4:3 and the edge of frame. I'm not sure if this helps. Thanks again for any help guys! I definitely appreciate it and my apologies for my ignorance.
  6. Thanks Gregg! Yea I have done my best to get any info, but according to the seller there is no writing on the unit. He thinks it is Arri, but google turned up nothing. I will do my best to get an image on the monitor all hooked up and operational. Thanks for the info sir.
  7. Hey guys, So I've recently purchased an old SR2 modded to shoot super 16. It's a solid package but the only thing missing is a video tap. I've contacted a guy that used to build Jurgens taps and he has the parts but it can get pretty costly. My other idea is to purchase another camera I have found (An SR1 with a tap) and install it in my SR2. The price would be far better taking this route. The bodies are almost identical as far as i know on the viewfinder/eyepiece side of things. My only concern is that the tap on the SR1 won't cover super 16. I know the old Jurgens ta
  8. Promist in front on the lens will help to make any direct source larger and smooth out any shaping coming from the lens. For example, if a direct source looks like a star unfiltered, with promist you might be able to change that to a larger, less shapely circle. Fog will do something similar but you will need quite a bit of it and that may not be what you want.
  9. I recently posted this to lighting then realized this may be a better place to pose the question. I'm new to the forum and can't figure out how to delete posts so I apologize for any repetition. Anyways, I recently shot a music video and have run into a bit of an issue with the highlights. One of the hero props on this one was a set of floating, glowing orbs a la John Carpenters "Starman". The characters had them in most scenes. Images attached. I was shooting on a Sony F5 with the Raw recorder. We also had proxies at XAVC 2k going to SXS cards. I rated the camera at 12
  10. Hello everyone. I recently shot a music video and have run into a bit of an issue with the highlights. One of the hero props on this one was a set of floating, glowing orbs a la John Carpenters "Starman". The characters had them in most scenes. Images attached. I was shooting on a Sony F5 with the Raw recorder. We also had proxies at XAVC 2k going to SXS cards. I rated the camera at 1250 most of the time to lessen noise, but when dealing with extreme highlights went to 2000 to have the most headroom. No LUTS were baked in, and I shot S-LOG2 Both the proxies and the RAW re
  11. Also, my scenes will not be in a car. One is outside at night. One is in a bedroom. The orbs are supposed to lift from the hand and float around.
  12. I have an upcoming project where I've been asked to film floating blue orbs around the talent a la "Starman". My initial thought is to shoot anamorphic, float a battery powered small source on some monofillament, and composite/track over the source with a light aura of sorts (retaining the flare). I think this MIGHT work, but in these examples there are clearly larger sources being used. They also seem to be coming from relatively the same area as the orb itself. Due to the obvious keying/compositing (you can see the black matte lines when watching the film around the
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