Simon Gulergun

Thanks Dom, yeah I’ve followed all those instructions. I’m in Norm and mode 1. Keeps resetting to 29fps. DP said the camera flew this past week, maybe it got knocked on the head too many times, or maybe I have. Will keep working at it

I’m at prep for a job this weekend, using DP’s personal SR3. Seems to want to go back to 29fps from anything else I try setting it at. Would like it to start-up at 24fps. Any ideas? edit: to clarify, I’m able to set it at 24fps after turning it on. However, upon start-up, it goes back to 29fps

Using my 1218 for a small shoot tomorrow and my 625G cell batteries are dead, which is a real drag because they're not easy to get. Does anyone know if the manual aperture dial will still work without any batteries? Thanks

A friend sent me these photos from her set, I'm not familiar with exactly what's happening here. The other magazine is working fine, but not this one, Aaton XTR. Does anyone know? Thank you! IMG_0964 copy.heic IMG_0965 copy.heic

@Sam Davisson Looks great, eager to be one of your first customers!

Congrats! One of my favorite cameras. - The variable shutter is great for cutting down light, notches for a half stop and a full stop. Matte boxes and ND filters are generally rare use with a Bolex, so it's really handy. One thing to remember is that it's also cutting down the exposure time, so you go from 1/80th to 1/120 to 1/160. Your image becomes slightly sharper and movement has slightly less motion blur - The shutter angle is 133deg, then there's an additional 1/3 stop loss of light from the prism, resulting in 2/3 stop loss. If your lenses say "RX" on them, they compensate for the prism light loss, so you would expose for 1/65 (at 24fps). If the lens is not RX, expose for 1/80 (at 24fps) - Don't leave your camera wound when packing it away - Mono No Aware (http://mononoawarefilm.com/) in Brooklyn has great prices for stock, processing, and scanning - a great community to get involved in Please anyone correct any inaccuracies I may have presented. @Frank Poole share photos of your camera when you get it!

Working on my new reel, would appreciate feedback - this is a work in progress. Thank you! https://drive.google.com/file/d/1RDAPQnJCpIZMptpTnGOWGyfxEQL6h3v0/view?usp=sharing

Does anyone have experience working for politicians in DC (US)? Either on an individuals media team, or a one-off gig? It's a long shot, but there's a particular congressperson I'm interested in working for, and with no connections to that world - I figured I'd ask here. Thank you

I’m actually researching doing this for an upcoming project. Any idea how to monitor it?

I'm just hoping the SEC investigation doesn't trigger them into bankruptcy again

Nice, what's the price?

As a DP, how appropriate/to what extent can a DP offer their constructive criticism on a project that is being offered to them? What are some strategies people here have for navigating these situations? With friends, I err on being honest - but where is the line drawn in more strictly professional settings? Let's say it's a script/project you really want to like, but you know it needs work.

16mm is still core curriculum at CalArts. Half our classes are film production on film (from A/B cutting to experimental hand-processing and contact printing) and half our screening classes are on film, from 8mm to 35mm. I worked as a film projectionist, film archive inspector, 16/35 telecine technician, and TA for 16mm classes all at school. There is high enthusiasm for shooting on film, from short experimental works to feature length narrative. Just to give a sense of what students are interested in. That said, many people come to CalArts specifically for our continued investment in those resources, whereas other schools have ended these programs (comparatively). I love both film and digital, and I greatly appreciate how Yedlin approaches the two. Yet I'll shoot film as long as I can afford it

Why so "cheap"? Seems too good to be true. Wish they were all in this price range!

@Dan Finlayson recommended making two proxies from the DPX: ProRes 4444 for grading and HD 422 for editing. Why the 4444 for grading? Why not use the DPX in DaVinci?