Kevin Joelson

I love shooting and mixing the sets too. I recently picked up a 40mm for my set and I love it. It seems to always be my starting point when looking at a scene. I'm looking at adding a 100 or the 135. Based on your experiences with them, which one would be the must have addition to the kit. My gut's telling me the 135, but I'd love to hear opinions based on real world performance.

I wouldn't go as far as to say that the D90 is almost unusable... http://vimeo.com/3880786 http://vimeo.com/3844707 Both of these were shot on the Nikon D90 with ZF Primes

David, So a production company letter will not work? The letters have to be from the payroll office? What if it's the production company that's giving you the check and not a payroll company? Thanks

David, Thanks for the reply, So do I need to provide deal memos to contract services? What all do I need to show them. I know about the letters, paychecks and deposit records...What else do I need? I would never go in as a loader...I just heard from young (poor) filmmakers that it was the quick option to get in to the 600. The dues were not as high. I would want to go in as a DP but going in as an Cam Op wouldn't kill me. If there was the chance to move up. By the way how would one move up if they got in, in this position. I don't plan on jumping into the union right away. I just want to have all of my "Proofs" ready to go if the opportunity arises. David if you have copies of any paperwork I might need to provide... Also it you wouldn't mind me taking a look at your letters, could you email them to me at mediamilitia@yahoo.com I just want to be covered for the future. Thank You for your time!

Hello, I am acquiring my 100 non-union days at a rapid rate. I've collected my letters from the production companies, saved my deposit slips and copied my checks. I am a DP but am collecting more days as an operator. I can actually bend the rules here since most of the stuff I DP'ed I operated too. But the operating jobs have been more abundant because of reality TV. So I have chosen path as a Cam Op. What are my choices and what are my limitations once I get in and on the roster. I have heard from so many prospective 600 canadates to go in as a loader. Others have told me to go in as an Op. I am kinda confused on what my plan should be. Should I go in as a DP? Should I get into the 600 at all? I figured if I prove the days why not? Thanks for the help

It most certainly is a tighter spot. The face of the lens is no where as big as an arri 1200 or 2.5. It closer to the mole daylight series 1200 in size. Their claim is, the lights were developed by a guy who used to make aircraft lights. He created a new par design that releases the heat in a very efficent way, which saves the globe life. He then juices or "Boosts" the ballast to get more from the globe. The one thing that had me going was the fact that I could touch the head without gloves...It was extreamly cool to the touch and that light had been burning all day. Im not a sucker to buy into all of the claims, but I really liked the design and the output of these heads. Plus they are close to a grand less in price then the other 1200 competition, but money is not the selling point, performance is. My main concern is product realiablity...Thats why I came here to see if any of you fellow cinematographers had used these systems.

Hello, At cine gear over the past weekend I noticed some HMI's under the name of Booster lighting. After listening to their pitch I was quite impressed. I am in the market for a new 1200 par and they are claming that their light is putting out close to what the average arri 2.5 is. I am just looking to see if any of you have seen, used, bought these lights and what success you have had with them if any. Product Website http://www.boosterlighting.com/ Thanks Kevin