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Dominik Bauch

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    Los Angeles

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  1. Wow, what an amazing experience. Thanks for the insight. Definitely a lost art form, people rely too much on post / power windows these days. Nothing like shooting film and throwing a baked in color grad filter on top.... nerves of steel!
  2. Thanks, I'll take a look at those. I guess 6x6 is the way to go, 4x5.65 horizontal doesn't give much room to repo vertically but who outside a big rental house can carry 2 matte boxes... I wish there was more behind the scenes details for those Tony Scott movies, it's such a great look. Cinematography today is getting too clean and perfect.
  3. When shooting anamorphic, are vertical grad filters or standard horizontal ones best to use? Does anyone know what grad filters Jeffrey Kimball used on Tony Scott movies (Top Gun, Beverly Hills Cop 2)? I’ve seen a thread here where Claudio Miranda says Sunset filters were a go to for Scott on later movies but which manufacturer? Lee and Tiffen’s are very different... Back in the 80s what manufacturers made grad filters?
  4. I have two choices for dolly wheels (small platform dolly with around 100lbs of weight including Bazooka & camera package) Go kart wheels or double pneumatic wheels (i.e. 2 on each corner). On normal surfaces, wood floors, concrete, tiled floors (i.e. no off road or major cracks / bumps), which wheels tend to be more stable and give smoother results given these conditions? Any advice really appreciated.
  5. I have an option to round out a rental set of Cooke anamorphic i primes (32, 40, 50, 75, 100, 180) with either a 65mm macro or 135mm. To me the 65mm isn't really a big magnification and as I have a 50mm and 75mm in the set, I can just add a diopter and get similar results (albeit with some chromatic aberration around the edges but that can be nice at times and take the digital edge off.) I get that I can't focus to infinity but the weight penalty of this large lens leads me to be happier with adding diopters to regular primes. Am I missing something here as others have talked about the 65mm being special....? I'm leaning towards the 135mm as that's a built in close up lens, 100mm not quite there without a diopter and 180 is a little too tight. Looking for advice from anyone who has used these lenses a lot. Thanks!
  6. Thanks Tristan. Had a thought to try a hihat on a wooden board and use ratchet straps to secure the x, y & z axes. Possibly raising the board on apple boxes or something else solid. Unfortunately legit grip techniques are beyond my budget...
  7. Never worked with car mounts before, any help greatly appreciated. I'll be working with a roughly 40lb camera set up. Is the Matthews Brauer hostess tray solid enough? i.e. on Los Angeles roads... will it hold up well without jostling around. Ideally it's locked to the movement of the car. Is this the case? How about mounting in the back seat of the car, what's the easiest way to hard mount a camera for an OTS driver shot? Thanks
  8. For me renting for single days here and there is a huge Pain. Much easier and more flexible to own relatively low cost items so we can deploy easily and quickly without hassle. As long as they work well which is what I wanted to ask here.
  9. I like the look of the Proaim Spin Dolly. I can’t find any reviews online so I’m wondering about the quality and how well it actually works. Smoothness etc. Is the bazooka system stable? I plan to use roughly a 45lb payload. Wondering if there’s any flex or wobble with the Telescopic bazooka. Any experience or feedback on proaim dollys in general would be really appreciated.
  10. Super helpful, thanks so much for the detailed info.
  11. I won’t have a 1st AC around unfortunately, at least we o begin with. What are the best practice steps that I can follow to avoid any damage to either the mount or the lens?
  12. About to work with a 180mm anamorphic prime, pretty heavy. What are best practices mounting heavy lenses? I intend to use a lens support, just want to make sure I don’t over stress the PL mount by doing something stupid...
  13. Anyone know how the output compares between the Astera Titan tubes and the Quasar crossfade (daylight or tungsten). I love the potential flexibility of the Titans but I like the output of the Quasars (which I already own). Hoping the Asteras are close if not better.
  14. Just watched knives out. Yedlins tests looked way more like film that the movie. To me it looked super digital with overly sharp grain. All the interior shots had very digital looking blown out windows. Kind of surprised me given the hype.
  15. Thanks, 3/4 inch or 1 inch for wood? would you use washers?
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