Patrick Quesnel

I can only speak from my experience, but on mid to high budget episodic I find most shots are done with an Oconnor fluid head on a dolly, probably somewhere around 75% of them or more. Probably because it's a rather fast way of working when the camera can be easily wheeled to the next set up and the operator can start framing up right away, the efficiency is important for making the day. Ronin 2's mounted to a dolly are becoming more popular, but they are often still used to just do simple pans and tilts like on a fluid head. I rarely see sticks being used except for on low budget shows when production does not want to spend the budget on a dolly and dedicated dolly grip. Except for on the largest of shows, cranes, remote heads, and other specialty tools tend to be a daily rental for specific scenes because the costs are just too high and they can often eat up more time in the day. I think it really just comes down to the cost and ease of use, and more often than not, a simple pan or tilt on a fluid head can be the perfect move for the story.

The chart in your attached photo is for the False colour on the Mini LF. It shows what exposure level is associated with each of the colours displayed. This chart comes already placed on the viewfinder when you buy the MVF-2. There is a built in slot on the viewfinder that you can just slide that chart, or any chart in.

Could be an Oppenheimer plate but it also looks like there is a Keslow Camera barcode on there so could be a custom Keslow item aswell.

Put the cut out into a plastic name tag holder, like the type you get at a convention or event, and velcro that onto the camera. Then you can just slide in the new cutout every morning and it provides a little more protection so it doesn't get all crumpled up. Something like this... https://www.amazon.com/Clear-Plastic-Horizontal-Badge-Holders/dp/B0993L7TMX/ref=sr_1_2_sspa?crid=RITF17V41GH8&keywords=name%2Btag%2Bholder&qid=1662195265&sprefix=name%2Btag%2B%2Caps%2C78&sr=8-2-spons&th=1

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Hi All. I was wondering if anybody has ever had issues with mounting Arri standard mount lenses on an a camera with an arri bayonet mount. Specifically the Angenieux 5.9mm with its deep protruding rear optics. Looking into a bayonet mount SRI and would like to use my standard mount 5.9mm, but am worried about it touching the mirror. Thanks in advance!

Theres no way to get it directly on the P2 media. Using one of the video outs could go into an external recorder mounted to the camera or to an analog to SDI converter to use with a more modern HD-SDI recorder. That way you're not hardwired to a computer if you need to be moving around. Just make sure you have the on screen info outputting. Menu > Display Setup > Video Out OSD > ON.

I have used both the canon C300 mkii and the Sony F5 (not F55, but similar enough to compare) when I was in film school to shoot short films. These cameras were built for 2 different styles of shooting, one for more doc style solo shooting (c300), and studio film production, where there are camera assistants to deal with the camera (F55). Ergonomically I prefer the F5 when shooting with it on my shoulder, I like the size/shape of it more than the c300. Mainly though I prefer looking through a viewfinder and the oled viewfinder for the F55 is better than any solution you will get for the C300, and I never been able to find a position I liked when using the lcd that comes with the c300. The c300 will be faster to work with than the F55 as a solo shooter as it is easier to change most settings on the c300 than the F55. Although the F55 has that nice lcd panel on the side with quick access to the most commonly changed settings, a lot of the options are dependent on settings in the deeper menu of the camera. The F5 also uses a lot more scientific/advanced wording in their menus, which I think deterred a lot of people in my program from using it, it does have a slight bit more of a learning curve if coming from most other cameras to understand what each setting does and how it will effect other settings. As far as colours go, the canon leads a little more into the magenta/reds, and the Sony is a little more neutral in its look, similar to most other canon/sony of that era. I didn't do much low light stuff, but i did find with the F5 having a proper exposure was more critical for a clean image than the canon. On a personal level, I find the Sony cine cameras of that time have a look that I can't seem to explain but there has been moments like when watching "A Million Ways to Die in the West", where I was able to tell that was shot on a Sony. For both cameras you need an external raw recorder to shoot Raw, but for the F55 you will need an R5 or R7 unit that uses AXS cards. The F55 also has the ability to shoot in ProRes and DNxHD codecs if you have the optional board installed. Internally I have shot in XAVC on the Sony F5 and probably all codecs on the C300 Mkii. I rarely touched the files as I didn't do any editing or colour work, but I can't remember having any issues when I did use them in premiere. The C300 Mkii is a newer camera by a few years, but like always it comes down to the user and I am sure you can get a great image out of either of them. Personally I prefer the overall image quality and options of the C300 mkii, it does feel a little more modern of a camera over the F5. But I do prefer the body, viewfinder, shape, menus and lcd side panel of the F5 over the C300 for my uses on short films, with an assistant. All of this is just from memory of my experiences using them a few years back as a student, and I am sure there are a lot more people who have worked with them professionally and have more knowledge on them than I do.

Yeah, it is quite dirty. My other rolls were cleaner but they were also processed at a different date. I will give another lab a try on my next roll. Thanks everyone for their responses!

Yes, my eye was to the viewfinder, and it was machine processed. And yeah, that lack of consistency in the leaks is definitely throwing me off. Could be static related. But I have shot some stuff in warmer months that also had similar flashing. Is it possible for a static discharge to be produced by the mechanics of a camera? Fresh raw stock

Hi all, looking for your expertise in helping identify the cause of some light leaking/flashing (I'm not quite sure what to call them). I have shot a few rolls of Tri-x and have noticed quite a bit of random flashes of light happening. Iv noticed the flashes most often appear in the last two seconds of a shot before I cut, but not always. Here is a link to an example: https://youtu.be/zzo9Ox6MQxc The example I posted is one of the worst cases of it, usually it is not near as strong or frequent. My camera is a Arriflex 16ST with a Tobin TM23 motor and an Angenieux 12-120. I shot 100ft daylight rolls that I loaded in low light, and I taped around the camera cover after loading. Any insights are appreciated, Thank you ?