Travis Shannon

Have used the s16 mode and 16 glass on mini before but as Gilray said it’s no more inherently “filmic” than the same lens on the camera at 2.8k, it’s just using the image area better, you could try pushing iso but s16 mode isn’t really an alternative to s16 unfortunately.

Fwiw I bought a pl mounted Helios 44 from the same seller and the aperture ring is similarly close but it does indeed work although there is a bit of finagling when mounting it.

The establishing shots around the city are really nice. I think the two biggest things to focus on are making sure that whatever your subject is for the shot is actually being lit by something other than room ambiance and trying to generally bring in more light to the room to try to balance the window level a bit more, but really fun overall.

There’s also an ultra 16 cp-16 on eBay as well in pretty good condition and they’re sending offers to watchers, maybe something to check in on.

IMO the easy option is mycasebuilder.com, they have a pretty good selection of cameras and lenses you can drop in and layout online, just make sure you get the protection package so that you can send it back and try again if it isn’t quite the right fit.

It was a loaded colt 45 at basically point blank range, physics will absolutely and clearly did allow it. Further Explanation: high caliber rounds go through things. Feel free to research independently.

Thank you for finally answering my question, I appreciate it. While I can see the theoretical logic in your statement I can not in any way agree that it’s an acceptable solution and there should be multiple people stopping this from happening, there should never be a live round on set, dummy rounds look exactly the same and also have no primer thereby making them inert. That is what you use for a closeup, full stop. Also if these are corner cutting indie sets it’s reasonable to assume corners would be cut on safety as well, the combination of that and a live bullet is in a word, terrifying. As for your secondary possibility it does happen and I’ve worked as a camera assistant on exactly those reality jobs focusing on firearms where we document the weapons being fired at the range- the difference is that they are always in the care of esteemed professionals who know every basic of firearm training which is why they are entrusted with live rounds, they are in no way similar to an in character actor with no generally next to no firearms training so honestly it’s not comparable in my mind. Bullets don’t belong on film sets.

Blanks don’t travel through humans and then go into other humans, Pretty much every news source has indicated they were live rounds. Further stories have indicated the armorer had live rounds mixed in with blanks which is even more irresponsible.

Thank God someone else finally said it, I feel like I’m taking crazy pills here.

Again, my question was in response to your original statement excusing the presence of live ammunition on a film set in service of a closeup. Your inability to answer a very basic question about a very clear film set safety standard is equal parts problematic and telling.

My original statement was that live ammunition should never be used on a set. A dummy behind a blank can obviously kill which is why the armorer is to check the chamber, a live round is something completely different that requires an appallingly fewer amount of things to go wrong that again has no place on a film set. ”some idiot could put a rock in the barrel as a joke” This is an absurdly hyperbolic what if that frankly I’m not even going to entertain. I’m not sure why you’re parsing definitions on this- do you think live ammunition should be used on film sets?

There’s absolutely no excuse to use live rounds to sell a closeup and it’s literally what dummy rounds are for.

If it makes you feel better I generally have had much better experiences regarding these issues in the scripted world than reality but there’s snakes everywhere so like you said, you kind of just have to be relentless. It’s an unfortunate byproduct of not working a 9-5 on payroll. Quickbooks has a feature that actually reminds you thirty days after you send an invoice and I find it supremely helpful, good luck.

Sorry this happened to you Kenny, as it’s nonunion it’s covered under the California labor agreement which means it should be paid net 30, net 45 is questionable but sometimes happens, in either case you should address this issue to the California labor board, oftentimes just threatening the EP with labor board action is enough- the way it works is that the company is on the hook for whatever they owe, plus daily late penalties so they’ll do whatever they can to avoid it, it’s not the greatest if you’re interested in preserving the relationship that being said these probably aren’t people you want to deal with anyways. Always take these issues to the labor board, I believe they have a Burbank office that deals primarily with these cases. Also good for you for standing up for yourself, this stuff happens too often in the low budget space.

If you’re trying to keep it local, focus optics in van nuys can probably do it although they have been quite busy recently. Duclos is another option.

There isn’t some universal conspiracy to make v mount look inferior, it’s just not as sturdy. Ever had to go low mode on steadicam with a v mount? Enjoy literally taping/bongo tie’ing the thing on so it doesn’t fall from its own weight. Many monitor brackets have to utilize the lengthwise real estate and mount horizontally rather than vertically- again a very weak point for a sliding v mount. As a US based career AC all of my colleagues prefer Gold mount for the stability, not some brand loyalty as most of these replies can attest to- it may very well be a us vs European thing but there’s absolutely a reason we prefer a locking mount that doesn’t easily slide off of its own volition, as for the quip about gold locks being ugly square lumps I’m not really sure why the aesthetics of a battery are more important than it’s actual function which is powering the camera in a secure and stable fashion. The majority of V mount owners in the US are exactly that, owner ops and most jump into it because it’s a lower entry price- I’ve also noticed most have regrets after using the gold mount system and end up transferring over if they have the means.

If you’re looking for color accuracy go tvlogic, vfm-055 or 58 are both great options for onboard. Smallhd’s can take luts but I’ve seen them go quickly out of calibration although I use them for focus pulling since they’re pretty feature friendly. I don’t know about that one, chief.

Hi Evan, I’m indeed referring to the rubber magazine loop protector/throat cap, let me know if you’ve got one, thanks so much!

As stated, looking for a mag port cover for Aaton XTR, thanks so much. -Travis

Hey all- Recently I purchased a 9mm and 16mm kowa cine lens and just got them CLA’ed. I’m now looking to finish the set so trying to find a 12mm and 25mm- hopefully with the kowa cine badging so that the coatings match but also considering the CP Ultra T version as well, thanks much.

For color accuracy I’d really recommend the tvlogic route, for something in that size the vfm-058 and 055 are both solid picks and the 055 is also an oled. As a focus puller I love the 703 because of it’s size and feature set but I’d never really want to light off of it.

Building on Baltasar’s comment a clamp on straight to 138 would also be very useful for close up diopter work, that’s something I would definitely add to my kit.

Is it single stage only?

Alexis Zabe shot The Florida Project on 35mm.

Yup, my experience to a T. Also if anyone on this thread is interested, the specialty lens rental house Old Fast Glass (@old_fast_glass) is hosting a discussion on their Instagram tomorrow 5/26 at 5:30pst on their new set of rehoused Canon glass that was used on AotD as well as the cinematography of the film, might pick up some fun facts.