Brian Drysdale

Note, I'm not implying you throw the camera and lens into the back of a car, the camera case I mentioned has high density foam that supports the camera and holds it in place, so that the camera is suspended within the foam. The ENG camera's are usually in a soft case (Eg Porta-Brace), although some are in a metal case similar to the Aaton.

It was pretty common to keep the zoom lens on the Aaton in a ready to shoot rigidized metal case when driving in a car on documentaries. Being able to quickly set up a shot was a factor in this. The weak point in the Aaton appeared to the the screws holding the top handle to the camera. The threads could wear out. especially if you had to regularly switch between standard 16 and super 16. Regarding 2/3" ENG cameras they always traveled with the lens in a car. They were often carried on as hand luggage on airliners wit the lens still fitted by news crews. I've never seen one traveling in a car without the lens on everyday TV productions, dramas are different because you've got camera assistants.

The only video tape format I've heard of being able to be physically joined, so as to have a usable edit is 2 inch Quad. No doubt, somewhere, there has been a video tape format that runs at a high enough linear speed in order to this, but it hasn't lasted.

I would go for more height if you're going to use it as a studio to allow for greater lighting options.

IF you can remove the backseat, you could mount the camera tripod on the car's floor and secure it with sandbags. You may find YouTube videos for the home mechanic on removing it.

If having the lights track with the runner, it would be better having the them on vehicles, since it's unlikely that someone running will hold them that steady and keep up a running pace. You can hard mount them on the vehicles and the actor can maintain their position to the front vehicle, which will act as the pacemaker and the rear one will just follow along. I would also mount the camera on a vehicle, however, be aware of safety for the camera operator, so that legs etc aren't sticking out and they're safely strapped in. The David's method is the best way to go, although a 100 meters of rain is a lot of water to be pumped unless you've got access to the water mains and suitable hoses.

Both switches can run the camera, To switch off the power you need to reverse the battery on the side of the camera, so its terminals face out and so no longer connected.

The picture on P119 is very close to the layout of your camera. As I mentioned earlier. Aaton kept making changes. My camera''s exposure meter display was different to any I've seen in other Aatons.

I had a slightly later one, It's likely to be an Aaron 7. However, they did tend to vary from camera to camera, since Aaton kept making changes at the time.

"Jaws" has some day for night with water.

I've got an old Sachtler Horizon - a film version of the video25. It has handled an Arr 35 III with a Cook Zoom without any problem. Although not cheap, Sachtle carbon fibre legs reduce weight,

If it's the current high temperatures, here are some suggestions: https://www.bbc.co.uk/news/health-49072212

If you're having sleep issues, there may be an under lying cause,

Doing a quick google search the Olympus 12-40 f2.8 Pro may be a lens worth checking out.. Other suggestions seem to involve using the AF as you zoom, which not work with your camera.

What you need is a parfocal zoom lens. https://en.wikipedia.org/wiki/Parfocal_lens Cine and video lenses are designed that way, so that they maintain focus as you zoom. Still zoom lens are Varifocal https://en.wikipedia.org/wiki/Varifocal_lens There are a small number of still camera varifocal lenses that are pretty close to being parfocal.