Brian Drysdale

From what I remember, there was a template that you could use, so by cutting around it, with the gel filter held between the two halves, you got the correct size. I kept the protective tissue on the gel while doing so, so it wouldn't be damaged. I just used sharp scissors.

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.

Lightworks V2021.3 is now released. Some of the new Features and Improvements are: Browse and Import Media from Cloud Storage Providers The Cloud is an important part of video production these days, whether it is backing up, or simply moving content about to make it more accessible on any device from any location. In Lightworks 2021.3 you can now add your favourite cloud storage provider directly to the list of ‘Library’ locations within a project. This makes editing content much faster and more accessible from anywhere. Once the cloud storage is added you can browse, play and import content directly from the cloud to your project for editing. Lightworks currently supports: Google Drive, Google Photos, Dropbox, Box, OneDrive and pCloud Upload Exports Directly To Cloud Storage Providers (Lightworks Pro Only) In combination with browsing and import, we have made it even easier to get your created content back to your favourite cloud storage provider during the export process. Create your masterpiece, choose to export to the format of your choice (Lightworks Pro required) and select your cloud storage provider, it is that simple. Lightworks currently supports: Google Drive, Google Photos, Dropbox, Box, OneDrive and pCloud. New Startup Wizard and Improved Hints This new panel appears for new users that have never run Lightworks before, this helps get acquainted with the application allowing users to set their preferred language, keyboard shortcut layout (those that are familiar with other applications) and even choose between Fixed and Flexible layout. The wizard also includes the sign in panel which has a better way of showing what licenses are active/inactive and includes a link to watching the ‘Quick Start Video’ (being updated to the latest version) Creating your first new project in Lightworks can be a bit overwhelming so they have reworked the Hints that pop up to be much more visually appealing and appear relative to the area of the application they are referring to. There is even a new hint to ‘Take the tour’ giving a good overview of the project layout and how best to get started. New Import Panel The ‘Local files’ library has been given a much needed makeover to look and behave similar to Bins within the project. This allows you to choose how best to view your content prior to importing it, browse using the new treeview layout, filter content and see more metadata by choosing which column headers are visible within the library. There is now a new website and portal: https://www.lwks.com/ Also, new lower prices. For July only, Lightworks is giving away 500GB of completely FREE and perfectly integrated cloud storage that will instantly help with 1) Getting your footage into Lightworks 2) Sharing and collaborating on edits with colleagues and 3) Backing up your content. The V2021.4 beta is expected to be released in August. A recording of the webinar on Wednesday, where there's a demo of V2021.3 plus a presentation of the future plans for Lightworks, will be available soon.

Try here: https://www.dropbox.com/s/zvl7kgol7ke8q6g/ShotPro User Manual.pdf?dl=0 Google came up with this.

The 9th V2021.3 beta build is now available. [url]https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=243443&Itemid=81#243443[/url] This new build should be the last prior to release next week. This has added Adobe Premiere Pro' and 'Blackmagic Resolve' as AAF export targets (Pro Only). new keyboard shortcut functionality within the 'Adobe Premiere Pro' and 'Blackmagic Resolve' prefs files and fixes including MKV audio.

I don't know about a PA in LA, but I need to break down everything I'm claiming in an invoice..

There is a webinar for the upcoming release of Lightworks V2021.3 https://www.redsharknews.com/lightworks-has-a-big-new-release-approaching.-get-all-the-details-at-this-webinar

You convert the frame rate in post production, after the commercial has been edited. In Europe shooting at 25 fps would be the usual method since you're covering both areas and it minimizes flicker issues with lights etc. Flagship European TV productions are shot at 25fps and sold to the American market all the time.

I assume you're shooting in HD, since NTSC and PAL are standard definition formats.

The 8th V2021.3 beta build is now available. https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=242979&Itemid=81 This new build fixes a long standing issue with potential audio pops/crackles, including a couple of recent regressions. Also; improved handling of opening projects created with earlier versions of Lightworks.

The 7th V2021.3 beta build is now available/ https://www.lwks.com/index.php?option=com_kunena&func=view&catid=19&id=242632&Itemid=81#242632 This will be one of the last prior to release. This new build fixes some longer standing issues, including a couple of recent regressions. This adds the ability to read the config.dat from the the 'Preferences' folder before looking for it in the run directory. 'frame rate' information to the export task log and ignored 'Auto' frame rate sequences when dragging and dropping selections from bins to sequences.