Evan Samaras

I must be having difficult accessing the rest of the magazine. Is it all in there, or just the cover?

Marcos, I also enjoyed this read. It's interesting to hear about people navigating indie filmmaking at that time. I have a feeling that it has changed A LOT. Especially with digital now being an option. I had the chance to meet Don and have him sign my copy of True Indie (He signed it "Keep those balls in the air" hehe) when he was touring his new 4k Release of Phantasm that was produced through JJ Abrams. We all have JJ to thank or this film may have only had terrible SD versions available as Don's own print was going Vinegar!

Thank you for your response Daniel. It has been some time, and we're all quarantined. Anyone else care to give some feedback as we learn and grow? Thank you.

PM Sent

Hi, Putting a feeler out- I am thinking it's time to sell the BL2 (standard mount) and BL4 (PL mount) cameras. I've been thinking it's time to sell because I have been shooting my SR3 most of the time. I am OPEN TO TRADES for filmmaking gear as well. (Gear heads, tripods, lenses, Video tap for my SR3, I can use upgrading for quite a bit of gear so don't hesitate to reach out). Pick up in NYC- if you want to deal with shipping that would be your responsibility but I would strongly prefer a pick-up. Some Details: They came from Visual products and include: Matte-boxes for both. lens blimp for the BL2. 25mm f4 PL mount lens. I believe there are 5x1000' magazines and 3x400' magazines. Some leather blimps for the mags. A Jurgen tap on the BL4. Flight cases for everything. A battery pack that can run both cameras. I will also throw in a magazine for the Arri 535 and ~4000'-5000' of 35mm unexposed stock. Some are short ends and re-cans, some never opened. Most in 400' cans, maybe one or two 1000' cans. Please PM me if you are interested. Thank you.

My go to for S8 - e6 if it's not in my lomo.

Really cool Short Tim. Plenty of room to let me mind wander

Hello friends, I recently completed a short film that has held my attention for many months. It was written, directed, and scored by yours truly. It was shot over the course of three consecutive 17 hour days. The process was as much of a fever dream as the result. The best part about it? Shot on our beloved celluloid format. Almost exclusively on Kodak 7219 (500T). There is a small section of Kodak 7203 (50D). This hobby and community have been a large part of my development in the interest in filmmaking. This is one of the reasons I want to share (privately) a link to my latest short film. I look forward to hearing your feedback and critiques. I hope to continually learn and develop my style through consistent work and feedback. This film is not available to the public at the moment (while it makes the festival circuit), so you will need a password to access the film on Vimeo. I ask that you don’t post the name of the film in this thread so we can keep it difficult to find publicly. The password is SRF2020. Now a warning. Warning The following film contains violence, graphic language and content, and mature situations/themes where viewer discretion is advised. Plot An addict blinded by love has one night to obtain the object of their affection. This film is NSFW. If you think the content might be even slightly offending or disturbing to you, it might better to skip it. It’s film that takes place on a darker side of the world Read the Post for the Password Thank You for Watching!

Hello everyone, As a DP who continues to learn and grow his kit I have reached a point where I hope to be enlightened by the wonderful members of this forum. I have done some research on the matter and would now like to hear others thoughts and feelings. A little background: My kit is small. I own a few Arris, 300w, 750w and a 1k. I have plenty of tripods, and 2 c-stands with extension arms and grip heads. As I work in shaping light, I am beginning to think more about soft boxes, snoots, scrims, nets, silks, dots, fingers etc.The basic items other DP's like to have or make on set. Unfortunately I cannot afford to buy and try it all out. I have been shooting on on 16mm film and anticipate most (if not all) of my projects to be in 16. I want to ask about your kit as a DP (or familiarity). -What do you love to have in your kit? -What do you recommend as a necessity in ones kit? Some differences I suppose are due to what's available with some varying degree of difference In the result. I noticed some like to use black foil instead of snoots. I've been utilizing diffusion over the barn doors, while I suppose some might set diffusion into a frame and on a C stand. My lights would also allow me to drop in scrims, instead of hanging them from a c stand. I suppose the distance and position effects the light. Since most filmmaking equipment is expensive (even second hand) I do a lot of searching on craigslist. I came across the following ad and inquired about it: https://newyork.craigslist.org/jsy/pho/7037971673.html I was provided with a link to Matthews that shows the kit at a cost of $2k for new. I was told "Price out the flex arms, add them in and my kit looks more like a bargain." I found this same kit new from an established store for a much lower price. I found a number of Flags, nets and scrims sold as kits. It had me wondering, are there kits that DP's would recommend, or do others make variations of these based on their needs, likes and dislikes. I look forward to learning from the community, and if there are specific books, reading materials and videos that you would recommend, please drop the info or link. Thank you!

Hello everyone, I am searching for a Lightweight Support Accessory that fits onto the cold shoe of my SR3. Does anyone have one for sale, or can you point me in the right direction? Thank you!

Thank you for the information Tyler, it's very helpful. I definitely plan on using the BL4. Is there a specific manual or book that you would recommend? When I first purchased my SR3 I read John Fauer's book front to back. I don't plan on changing the belts myself, although I would like to take a look at their condition. Replacing projector belts has been easy enough, but I definitely don't plan on touching camera belts! From my understanding, Andrew of AZ Spectrum gave them a thumbs up for Bill of Health, but I would like to take a closer look myself. I hope to find some short ends to run through the camera for testing purposes. I could probably even develop it in my lomo tank. Any specific recommendations on your part otherwise? Thank you again.

Attached is a picture of "BL3," although that may just be the Mag and not the body. It is also NOT with PL mount.

Hi Everyone, I just bought a set of ARRI BL's with the following serial numbers: 35407 & 36141 I am hoping to learn which BL models they are, as they were advertised as a III & 4 although the seller may have made an error. I believe one of them may be an original model BL. Is there a website I can use to find the models? All help is appreciated! Thank you!

Thank you Evan, I spoke with Andrew from AZ a few times. Unfortunately I would need the Optic Elbow to connect his video tap unit. Funny enough, while he had a used CEI Color 6 for sale, it is not covered for repair,, and he wouldn't consider looking at my own. His used CEI unit was also priced higher than his new HD tap, which confused me a bit. So, still on the hunt!

Hello again all, If I can't find an Optic Elbow for my SR3 I will need to find a replacement CEI Color Six. Any working units for sale at a reasonable price? Please PM me. Thank you! I would ask for an Arri IVS but they are probably out of my price range. Thanks again

Hi, I'm looking to buy a Video Optic Elbow for my Arri SR3 shooting in S16. My Color Six had an extra piece that tapped straight into the split viewfinder and did not require the elbow. Since my CEI is not working I am considering finding the optic elbow and a cheap Sony B&W tap & monitor. If anyone has a better idea, or an optic elbow for sale, please pm me. Thank you!

After tearing it down and inspecting each piece my best guess is that the ccd is shot.

some more pictures in case anyone decides to chime in... You can see the tap running here. The monitor is shooting back some distorted image. I can make out my hand and each finger when it is placed in front of the lens. My own tap does not have the same lens as the one in the manual's image above. Has mine been replaced, or is it totally missing and may be to blame for the lack of quality image I am describing? I've been considering finding an elbow and purchasing a cheaper b&w tap and monitor. Thoughts?

Hello all again. I decided to open my CEI again just to see what was going on. There was a loose screw I had to put back in place since it was jingling around. Here is a picture of the inside of the CEI.. Nothing stands out as odd to my everyday eye. There is some tape with a note, which only makes me believe it may have had some servicing or work in 2002. One thing that stands out to me on the CEI vs. the few pictures I have seen elsewhere, is what I believe to be the lens on my tap. It appears different compared to ones I have seen in pictures online (and in the manual), and it makes me wonder if I am supposed to have some other lens over this piece. I have included a picture of mine (laid out and open) and a picture from the manual that shows this other lens. Any and all information and suggestions are appreciated!

Hello, I am looking for a video assist tap for my Arri SR3. If you have something available please pm me. Thank you.

Hello all, i recently purchased the S-3 shoulder mount for my SR3 and had a question about the need or lackthereof for counterweights, since I could not find any manuals or information online. While I assume that on one end this shoulder mount has been designed for a balanced use, it does not take into consideration any additions on the camera unit itself. Is it normal to add counterweights to the rods with this setup? If so, any suggestions as to the amount of counterweight to try, as well as specific weights or places to purchase? Thank you for reading.

Hey Charles! I did not take the feedback as a denigration! I actually appreciate the time you have taken to provide feedback, and I just hoped to pick your brain on the statement. I have not had a chance to work on many projects as DP, and am thoroughly interested in other's thoughts, feelings and opinions about the work. I am only hoping to continue to learn and grow. Thank you again!

Hello everyone! First, I'd like to thank everyone who took the time to watch the film =D I worked along side George in producing this film. George and I wore many hats in bringing this film from dream to reality, and I believe I speak for both of us when I say that we are proud, and happy with the results. That being said, we are always open to learning where we could improve, as well as the specific ways we can grow. Charles, Since I had the role of cinematographer on this film, I hoped you could elaborate for me the statement "The lighting might be considered controversial." As the DP I felt the choice in lighting was appropriate to the subject matter and environment. Being in my own mind, and having my own reasons, I may be missing other interpretations and hope you could fill those in! Thank you!

Thank you for the response Dom. I believe all internal and external settings are set as described in the manual. I used an appropriate external monitor for testing. Additionally the Color Six also uses its own monitor to project the image. Both the onboard and external monitor showed the same image, and on both output A & B. I suppose I have nothing to lose by having someone local inspect the electronics for me, but it sounds like I may need to consider finding another tap. Thank you again.