Hannes Famira

Joseph, you are blowing my mind. This is exactly what I had hoped was out there. So much to learn now…

Hello Joseph, would you mind expanding a little on the second option possibly with examples of products you mention for the Edison dimmer pack that has dmx as well as the wireless dmx dongle? This is all super interesting yet completely new to me. Would this solution work for dimmers that go up to 1500W for larger tungsten globes? Third follow up question: Could I run those DMX dongles from my iPad? Thanks so much.

I am thinking about a scene where everything is supposed to be bathed in warm morning light or immersed in sodium vapor yellow, like a strong stylistic slant to a scene's light temperature: What are some of the deciding factors wether to gel the lights or put a filter on the camera. Thanks for any input!

Let me just start out saying that I am not a big fan of Proaim products in general. They seem clunky, heavy and are missing the sort of mechanical refinement that I am always looking for in my gear. This jib is an exception. Big, heavy and clunky are actually positive qualities in this case. It feels like a tractor. There is no play or slack in the joints. I found that once the jib is recklessly overloaded my heavy-duty Ronford&Baker tripod becomes the bigger problem, not the jib itself. I solved this issue by mounting it on fat, old Mitchell risers rather than on the tripod. If the base stays level, the head stays level too and I have had no issue with that.

Also check out the Proaim 10 Wave jib. New it's $680.00 and I have had mine for a couple of years. Your camera package has to be massive to make it jiggle. The worst thing about this monster is its carrying bag, which works but is just too soft sided for a heavy item like this: https://www.proaim.ca/collections/jibs/products/proaim-10-wave-2-plus-telescopic-jib-arm-crane

In camera support mass is your friend. See if you can find an old Ronford&Baker F7 on eBay. Here is one (completely overpriced): https://ebay.us/49Yz73 I found one a while ago for $800 and had it serviced. Now it's as good as new. No weight limits, works underslung on a jib and I hear reports they even function under water.

I have no idea what a crystal dome is either. Could I ask you to please share your findings.

Taking measurements for a new (custom CNC) top plate:

I hope this link works: https://www.ebay.com/sch/i.html?_from=R40&_trksid=p2334524.m570.l1313&_nkw=odyssey+7q%2B&_sacat=21162&LH_TitleDesc=0&_osacat=21162&_odkw=odyssey+7q

Hey everybody. I need to pick up a shot for which I am looking to borrow a crazy long zoom lens, just for one evening. Cine gears for a controlled creeping zoom (using a lens motor) and either PL or Nikon F-mount preferred. This is the missing, closing shot for my no-budget short. If you have the lens and would not mind hanging out on that hill in Sunset Park one early Winter evening, that would be tremendous. There is no rush. Sometime in November or even December would work. It would be nice to meet you and chat while we wait for the right light. I will bring my camera and everything else we need, including beers and possibly sandwiches? You will bring your lens. Just for this one shot: Cinemascope, it starts really close on a lit window and slowly, slowly keeps zooming out. First revealing facades of a row of buildings. Then you see the roofs of Brooklyn. But we keep going until the Manhattan skyline is revealed. It wouldn't hurt if there was some fog hanging between the skyscrapers that day. And finally the glow of sunset over New Jersey is revealed. Ideally I would be looking for a cine converted zoom with a filter thread of around 52mm (like any of my old Nikon primes) as I am planning to use my Schneider 2x anamorphic projection lens, which I used to shoot the rest of the project. Let me know if you are interested. Thanks!

Don't wait for anyone to give you permission. I made that mistake. You can invent how you make a film. The worst thing that can happen is that your first couple of projects stink. But there is no way to learn without getting right into it.

This is a very compelling argument. I was going for focus on the left but I have a very experienced operator friend who disagreed. He works mostly in TV (big camera on sticks) and he is used to the FIZ handle with all the buttons on the right. So your point comes as a relief. I think this settles it for me. Thanks Satsuki!

Very interesting. Thanks Aapo. So when I operate shoulder mounted with both hands on the grips you would tend to still use the left hand for focus?

I am craving Tilta's Nucleus-M FIZ system mightily. Without having actually tried it I am wondering: Coming from still photography my instinct is to map focus to my left hand. I am right hand dominant though. So over time I might actually be able to achieve more precise control if focus was mapped to the right Tilta handle. It's a finger wheel that I assume is operated with the index finger. Does anybody have experience with this, can share their preference with me and maybe add a reasoning for their choice? Thanks!