Alejandro Ramos

ARRI Amira

 

Includes:

- Body (Only 1804 Hours)

- 4k UHD License

- 200 FPS License

- Upgraded Top Handle UAP-2

- BPA-3 Plate

- Studio BP-8 Plate

- Dove Tail

- AC Power Adapter

- PL Mount

- Gold Mount Battery Plate

• Flight Case
•  

Media:

- 5x 128GB SanDisk

- 1x 256GB SanDisk

- 1x Sandisk CFast Card Reader

 

Extras:

- Viewfinder Cable

- 32GB SanDisk USB drive (for updates and LUTS)

-EXT power adapter to 4 pin

- Selling in hopes of upgrading soon. The camera is working like a gem. Haven’t had any issues!

 

 

Angenieux 30-80 T2.8

 

Includes:

- Angenieux 30-80 T2.8

- Portra Brace Case w/ Foam

- Front and Rear lens caps

• Lens Support receiver
•  

Notes:

The lens has no fungus, haze, or scratches. Focus, Iris, and Zoom ring are all smooth and none are sticky.

 

Happy to answer questions.

 

ARRI Amira - Asking $24,500

Angenieux - Asking $9,500

 

OR if bought together - Asking $30,000

Still Selling

Selling my Angenieux DP Optimo 30-80 T2.8

*Open to offers*
Asking $12000

Comes with:
- Lens
- Caps
- Porta Brace hard case

Cosmetics:
- Very Light wear
- Performance Optically tested to be within normal range.
- Smooth and sound mechanics.
- Glass is flawless

 

 

Great feedback! Re-editing now! Appreciate it guys!

Hey everyone, I'm transforming over from a videographer to a DP and I been slowly building my reel over the last year or so... I know my reel isn't amazing, but i'd love to hear what other people see in it good and bad.

 

What are some things producers or people would like to see that would help build my reel.

 

Any feed back is helpful. Much appreciated!

 

 

Well; there's a few ways.

1) you look online-- craigslist, mandy, staffmeup, such like that. There are generally VEEEERRRRRRYYYY slim pickings therein; but I have had and continue to have an auto-search marco which runs and e mails me any job with "cinematographer" or "director of photography" in it. Generally ever 15 min it runs-- and works sometimes. I rarely every get or see anything good on there; but once in awhile you may find a new-comer to LA who is looking for someone to shoot something simple with them, and if you're free and they're not an ass about it,, nothing wrong with meeting new people and maybe getting a few bucks to cover your cell phone bill for the month.

2) social media. Facebook has a huge amount of film groups on it which post jobs, and on which you can put up your availability. The rates often suck; but it's not as bad as craigslist or the like and combined with what you might get from #1 and 2 leads to:

3) Networking-- you're network, people who know you or who know of you and they call you because someone they know or know of needs someone like you. This is by far the VAST majority of gigs which seem to come. It's people you've worked with before, or people who have heard of you before from someone you've worked with. Everyone on set, from the PAs on up to the Producers are part of this, they are all on their own career paths and you never know what they may come across so really treat everyone well, with respect, on set, and try to keep up your contacts. I'm bad with it, I am terrified, honestly, of people, in real life. I hide it very very well but personally I always get skittish when it comes to interacting where there may be strangers.

4) People seeing your stuff-- either from your own website, or a google search or seeing your film somewhere. I actually booked 2 shorts this month (this weekend and end of the month) from a Husband and Wife team who happened to see a short I shot last year at some point and they sought me out.

5) Random interactions. I often go to this coffee shop where I feel "myself." I sit and I read, or I'm looking at scripts. Sometimes seating is at a premium and you wind up interacting with strangers (shudder, but I have coffee so it's typically ok) and a good deal of them, given my neighborhood, are in some way connected to film. They are almost ALL just starting out as well, young, and ballsy. You'll get into conversations with them, and often that'll turn into a job on occasion.

 

I'm sure there are other ways, but that's basically mine. I should note, this year, according to my own spreadsheet, I've gotten:

2 jobs from Craigslist

4 from facebook

and everything else was either from networking or referral (but that would take too long to count since I don't keep track of that)

I appreciate the response! I'm pretty much doing all of these currently. I wanted to check also if I was in the same ball park as everyone else. But it seems like I'm looking in the right areas/ talking with enough people!

Hey everyone,

I have a question I'm sure that gets brought up a lot, but I'd figure I'd ask anyway.
How do you all go about finding your gigs and your work? More so, how do gigs/ producers find you?

 

It seems in this industry when you ask someone these question, everyone wants to stay very secretive about it because they feel the need to protect where they're source is. So I wanted to post this here to see if any one would be willing to discuss this.

Thanks in advance and happy filming!