Kyle Perritt

Thanks Matt. The multi-universe function is what got me interested. Is the CRMX range comparable to the AKS? They look a lot like the Cintenna 2's, which I've heard mixed things about - though I haven't tried them for myself yet

Does anyone have any experience with these? They released last year. I’ve used their AKS a lot and love it. I just haven’t heard a lot about these from people using them in the field yet.

I feel like I now bear the responsibility to bring some kind of resolution to this wild digression I kicked off, so once I'm reunited with this lighting package in about two and a half weeks I'll take the cover off and snap a pic and see what we're working with. Though it would seem highly irresponsible, possibly unethical for a company to market a portable GFCI box to crews who are solely rigging portable electrical distribution systems as being up to code for that kind of use when it's really not. I don't know the story with the LG400. Honestly, most portable GFCIs I encounter on set are the 100 amp Shock-Blocks

Well that's great that a company isn't selling a completely identical knockoff that isn't up to code I'm somewhat optimistic that by page 5 of this thread, someone is going to come along with a simple and concise answer to your original question.

I completely screwed that up.... the ones on our truck are the Guardians, which are definitely Class A The Kaye Lites just looks almost identical to it. I apologize to Phil for posting a link to a terrible product. This is the real thing * I'm not the one making these orders so, was easy for me to get fooled by the image of the knock off after a long day * https://www.guardiangfci.com/products/lg520

Good to know

We got a couple of these 100 amp GFCI Lunch Boxes https://www.kayelites.com/osc/product_info.php/products_id/6224 on my last job and rented them to the show

Absolutely

Yes, unfortunately this happens... there might be a gaffer on the call sheet or someone with the word gaffer beside their name and that might be it for the department, maybe a couple swings or "Lighting PAs". I know a lot of rental houses will send one of their techs on small jobs with the truck and generator so that theres at least someone there who knows how to tie in and operate the genny. They're not technically a spark but they know the gear. It's really up to the Keys and the producer/UPM... I've done a few jobs where I've asked for an experienced juicer and got the "we already hired this kid to be your swing G&E" response more than once, and in my experience that behavior is pretty non existent on union gigs, though the shady, slimy types of producers who will do anything to save money and "get the shot" occasionally pop up in the Indie Tier world...see: Midnight Rider, Randall Miller

In my experience (I still work as a set electric for the majority of my real income) the dividing line occurs when a show or commercial is under union jurisdiction, where you need an electrician to handle every light and every stinger on set in the same way you need a grip to handle every flag, c-stand or sandbag... which is definitely preferable, this method does keep people both employed and safe

Yeah, DMX can get is one of those things that can really simplify a workflow and make things convenient, or grow into a total headache if you're doing a smaller project without a dedicated person to handle that task. I just suggested the Enttec because I've used them before and never had any problems with it. I'm not familiar with DMXking The Uni-Pack II will work with any standard dim channel light, or "dumb" light under 1000Kw, basically any light that you could plug into a hand squeezer or dimmer like a 650 watt fresnel, a 60 watt lightbulb, a 4 ft quasar tube or dimmable LED light bulb. It wont work with a light that is controlled electronically like a 1x1 Lite Panel.

You might already know this but I didn't see it mentioned: You should be able to use Luminair with a wireless router with no problem but make sure you get an Art-Net node to convert your signal to DMX512 Like this one https://www.amazon.com/70405-Ethernet-Lighting-Controller-Interface/dp/B072XY2PGV/ref=sr_1_5?dchild=1&keywords=entec+node&qid=1606006190&sr=8-5 That would go in between your router and your DMX transmitter Also looks like you need to get a bunch of 3 pin to 5 pin DMX adapters for those Donner antennas. They're 3 pin, which seems to be pretty standard for DJ and a lot of event lights but most movie lights are 5 pin. They're pretty cheap. When I'm on a tight or no-budget I use these single channel 1K dimmers for pretty much any small light from fresnels to LED tubes https://www.bhphotovideo.com/c/product/821805-REG/American_DJ_UNI_PAK_II_Uni_Pak_II_1_Channel.html/?ap=y&ap=y&smp=y&smp=y&lsft=BI%3A514&gclid=EAIaIQobChMIiovT4fuU7QIVBbLICh1l1QdFEAQYBCABEgKrJfD_BwE These are 3 Pin so wouldn't require adapters for the Donners Hope this helps!

It felt normal, but I'm just going to try and get it all serviced. Seems to be very overdue

I'm guessing its likely some sort of mechanical issue with the pressure plate on the magazine in question, I loaded the magazines myself on the footage i just sent off - they seem fairly idiot proof as far as getting the correct loop size goes so I really doubt it's that... we'll see what happens

Hey Simon, I ran some more film through the camera yesterday and sent it to the lab. Used the same two magazines that I did on the first test, I'm just very curious to see what happens. Was never ran through a counter or synch roller. My other roll of footage from a separate mag looked fine - same shots / subject distance / lens etc

a couple grabs that are bigger than 5 pixels ? https://imgur.com/a/Q7mIaaj clip of overscan - and yeah, the 250D on stage... it was some free film

Hey thanks for the replies! I didn't see any notifications for these so I'm just now seeing this. Excuse the low res uploads, I'm still figuring out the ropes to posting here Cutting a clip now to upload I don't own the camera but when I got the footage back I asked the owner when the last time it's been serviced and the response was a shrug - which is a problem. I've been testing some old, good but neglected cameras recently - they're essentially free for me to use, so... I guess you can say I've been hoping for the best? It's worked out maybe half the time. Had two magazines - One was fine. The problem footage is all on a single magazine. There was also a diagonal stripe light leak about every 6-10 seconds on that roll so from what you guys are saying about the pressure plate on the magazine I feel like all my problems could becoming from this single magazine, hopefully. Hey Robert, these tests are mainly for my eyes so I'm not worried about rescanning - I just shot some charts today with the same setup and both magazines that I loaded myself to see if I get the same problem. Thanks everyone Kyle

I'd like to add that no filtration was used*

I've been testing some old cameras lately and and shot a couple test rolls through an SR3 - one roll turned out fine. The other one had a weird, ghosted image that I can't quite figure out and I'm guessing someone here will know what this is immediately. (disclaimer: I'm a digital guy and relative noob to film) I've uploaded some grabs.

Thanks Robert, I'll be doing that in a week or two.

Thanks for quick the responses. I'm definitely still going to test, I guess I just wanted to know a little more what to expect with something that old. I'm way too exposure paranoid on fresh stock / even digital to gamble it on a gig or important shoot... Any scanners I should stay away from as far as low DR or having trouble with higher densities? I haven't shot much celluloid since school, its been quite a while, but have been getting back into it fairly recently. I've gotten 2K transfers from an HD Spirit on my last three shoots as they were pretty cost efficient, no issues but I was pretty much going box rating / a third of a stop over. No situation like this

Hey everyone, I've been "lurking" on these forums for years and finally got around to creating an account, so this is my first post. I recently stumbled upon about 3000 ft of recans and a couple short ends of 5213 and 5219 that have been sitting in a freezer for ten years. Considering it's been frozen, came from a trusted source and hasn't been sitting in a sweaty closet (in SC) for that amount of time, how much would you want to overexpose it to get a healthy negative? I'm guessing one stop at the very minimum, but I've never dealt with any film quite that old and these experiments can get expensive, so any advice would be appreciated ?