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. 

51 minutes ago, Amber Rout said:

Yes, even though blanks don't travel through humans and into other humans, they can still injure or kill people as particles still come out of the gun. Either way, it's unlikely one bullet would kill one person and injure another scientifically speaking. Did they say it was only one bullet? Because I don't see how it's possible for it to only have been one, momentum would have been lost and by the point of contact the energy would have dispersed. All I'm saying is I'm not 100% sure if physics will even allow. Can I get a further explanation???

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.

14 minutes ago, aapo lettinen said:

I can see why a corner cutting indie production would use real rounds for close ups: no need to specifically get non operational but real looking props rounds made which would cost more than use the same rounds the gun's owner already has. I never said this was OK, I just said that it is easy to see why this could happen in a small production when corners are cut enough to make things difficult to do safely.

Using live rounds would be possible if shooting content where the guns are used on a shooting range and handled just the same way than when used for normal target practicing (not pointing them at people, treating them with respect, no one touches any guns when there is people in the target zone, etc.) . That would work for a documentary style content but for a full scale feature film it is not practical and not safe enough whether shooting on a shooting range or not

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. 

7 minutes ago, Amber Rout said:

Uli, 

As far as I know, they were blanks, not actual rounds. So unless there have been developments, no one was irresponsible enough to put actual live rounds in the gun. Though, safety still should have been on.

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. 

8 minutes ago, Gregory Irwin said:

That’s the entire point Uli. There shouldn’t have been ANY live ammo on set and the gun should have NEVER been left unattended. We have several protocols in place to prevent this from ever happening. 
 

G

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

2 minutes ago, aapo lettinen said:

I think that all guns should be treated as loaded and lethal weapons at all times unless it is proved every time immediately before using it that it does not contain any live ammunition or other dangerous like a blockage in the barrel when using blanks etc.  I see it very problematic that people handle and use guns carelessly, even playing with them, and that action flicks and other media encourage this attitude too. they are not freaking Legos or something even when you can buy them from the same store than the children's toys

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. 

26 minutes ago, aapo lettinen said:

Dummy rounds can still lose the bullet and one can then have another brandon lee incident if using blanks after the loose bullet got stuck into the barrel.

People playing with guns and ignoring any safety considerations is the issue here which causes accidents to happen no matter where the guns are used or handled. 

Some idiot could put a rock or a piece of metal in the barrel of a props gun just as a joke and then accidentally kill somebody with it just like there would be a normal bullet

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?

6 hours ago, aapo lettinen said:

The only reason i can think of is if they shot a scene previously where someone loaded more rounds in the gun in closeup. But it is incredibly stupid to leave that kind of gun laying around unattended without even removing the live rounds from it.

If the live rounds were for somekind of target practice for entertaining the actors during breaks, then it is even less understandable that an accident like this happened. I mean, all the Americans are supposed to know how to handle guns safely by default (and if not knowing then it is not a good idea to touch them at all for any reason)

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

2 hours ago, Kenny Williams said:

I have no issue in continuing relationships with people like this. It was my very first time finally breaking into the scripted world I've spent the last 2 years of being a pa trying to get to. I just do reality tv and boy is this a negative experience to start it off. I hope all of scripted isn't like this, but I have no issue being the bad guy. I'm sick of doing it but I've been the guy to speak up for other pa's on other shows and I hound productions when my check is late. Found out once accounting threw my timecard away. After that I realized I can never stop being relentless.

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.

3 minutes ago, Kenny Williams said:

So late September I worked three days as a pa in LA to wrap up a show. I'm trying to get into the AD world, so a 2nd AD I've worked with contacted me needing someone for some scripted miniseries in riverside immediately. I showed up in the middle of the day got tested, filled out start paperwork, etc. So we finish that day and they were on day 20 of 21 but they had added a day. So the next day I show up and there was a covid scare so we all got tested and just sat in our cars for 4 hours before the day being canceled. I billed them for the full day because I was at work. Anyway fast forward to the next day we shoot like 14 ish hours and we're packing up at the end of the day. I thought this was the last day but they were adding one more for a few days later. This was my last day and from what I understand the crew hadnt been paid once yet and this was day 21 of 20. So I asked the 2nd ad who brought me on who do I talk to about getting paid. He said he'd send an email out soon. Cool I'm done I leave I wait a full week until AFTER their last day and heard nothing. I text him and he gives the EP's email from the callsheet to send my invoice/Mileage forms to. I emailed her on 9/28, but last day working was 9/23 so that's when I billed my invoice for. I primarily work reality network television so I rarely deal with invoices and still dont totally understand them. Anyway I gave them a month and sent it off. Never got a reply saying ANYTHING. As soon as I finished that show I was on a few other things so I havent been hurting for money at all. Yesterday was the due date on my invoice and I've still heard nothing. A few days ago I texted the 2nd asking him about it and nobody has been paid yet he said unfortunately this company just takes a long time. I know I'm spoiled I've never waited longer than two weeks for a payroll company like caps or ep or something to pay me. So I don't know what my options are. I've followed up with the ep and I'm a pa so I dont have a union to turn to for help. Should I contact someone else from the callsheet? I've never been in this situation and just don't know the standard operating procedures. 

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.

On 4/12/2019 at 9:52 PM, Robin R Probyn said:

clever how AB have created this image of V mounts being lower quality .. !  

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.

On 9/22/2021 at 1:08 PM, Haik Yan said:

and of course touchscreen.

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?

5 hours ago, Karim D. Ghantous said:

Sean Baker shot The Florida Project on 35mm.

Alexis Zabe shot The Florida Project on 35mm. 

2 hours ago, Tristan Noelle said:

I though the focus was far too distracting. I watched it with some friends who aren’t too film literate, and they felt self described “whiplash” from it. Also, destroyed Vegas is spectacle, you want to see it. But with everything out of focus, the epic location ceases to feel like a character. Not my cup of tea. 
 

Also, look for the Larry Fong billboard, was a nice shout out. 

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.