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Jack Lam

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About Jack Lam

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    Student
  1. Hi all, I wrote a how-to guide to set up the Blackmagic Micro Cinema Camera for wireless DISTANCE-ACCURATE focus pulling via SBUS. It will give you the same kind of control like a Preston or a WCU. It took me two months of research and tinkering to come up with this setup. I hope this guide will be helpful you. http://www.jack-lam.com/blog-post-2-1.html I’d love to hear what you think. Jack
  2. My name is Jack Lam, and I am a working cinematographer. In my blog site, I wrote an open letter to Panasonic titled: Long-overdue Innovations in Manual Focus Will Make LUMIX-S a Winner for Professional Cinematographers The article can be viewed here: http://www.jack-lam.com/blog-post-1.html We have not seen much fundamental progress in the tools for professional focus control since the rise of DSLR cinematography, and it is an area that is badly in need for some innovations. I think the launch of LUMIX S is a great opportunity for Panasonic to do that. In the article, I explain my ideas of what an ideal focus control system should look like on LUMIX S. It will make LUMIX S the ultimate small camera system for cinematographers. I believe my article provides a unique perspective to the discussions of future camera designs. This is an issue that affects the quality and effectiveness of our work and one that deserves more attention. I'd love to hear what you think. Hopefully Panasonic will listen.
  3. OK. Price drop to USD2000 shipped globally. Please contact me via email. INFO(at)Jack-Lam.com
  4. Up for sale is a complete kit with Canatrans UHF video transmitter (Global version), Tandem UHF receiver, a Decimator 2 converter, and a Liliput 7-inch LCD TV w/ batteries. Cosmetically, everything is in mint, like-new condition. Functionally, everything works perfectly. Due to the lower frequency and long wavelength of UHF, the Canatrans is able to pentrate through walls and propagate among obstacles better than most HD digital wireless systems, which operate in 2.4 or 5.8GHz band. Another advantage of UHF is that transmission quality degrades gracefully over distance, whereas digital signal would suddenly blackout or skip frames when signal strength drops below a threshold. Then it usually takes time for a digital signal to recover, while an UHF signal requires no recovery time. For these reasons, Canatrans is still the preferred choice of many professioanl Steadicam operators even when HD cameras are the norm nowadays. I am also including a custom-made aluminum bracket with 15mm rod clamps that integrates the Canatrans transmitter with Decimator 2 into a one-piece solution, completed with a battery plate to power the setup with a Sony NP-F750 battery. This way, you can mount the Canatrans+Decimator combo as one piece on to any 15mm rod. Works perfectly for cameras like Alexa, EPIC, or Sony F55. You may also power this combo from your camera's main battery system via a custom-made P-tap cable that I am also including here. This cable splits out to feed Canatrans and Decimator simultanously. A complete list of included items: ===Canatrans kit=== 1x Canatrans transmitter global version 1x Decimator 2 HDSDI-to-Composite+HDMI converter 1x Liliput 7-inch LCD TV 2x 12v batteries & charger for Liliput TV 2x antenna for Canatrans 1x P-tap cable for Canatrans + Decimator 1x P-tap cable for Canatrans only 1x 4-pin XLR cable for Canatrans 1x 3-pin 24v Arri-style cable for Canatrans 1x custom-made aluminum bracket w/ 15mm rod clamps ===Tandem kit=== 1x Tandem UHF receiver 2x antenna for Tandem 1x Shark fin antenna by Canatrans 1x Sony battery plate for use with NP-QM71(91)D batteries 3x Sony NP-QM71 batteries (one of them is third party) 2x Charger for Sony NP-QM71 batteries 1x Pelican case 1x P-tap long cable for Tandem The kit costs more than US$5800 according to this latest listed price. I'm selling the whole kit for USD2300 with free global DHL shipping. (The kit is currently located in Hong Kong.) Please email me at info(AT)Jack-Lam.com * replace (AT) with "@" Jack Lam
  5. I am prepping for an upcoming shoot with some gun-and-run scenes at night. I'm looking for a larger soft source to light the subject that runs on battery to keep it mobile. A 4'x4 Kino with some 216 diff would fit the bill in terms of the look that I want. Considering its lower amperage requirement, how hard is it to hook it up to battery? If Kino isn't viable, what other lighting unit would you suggest? Jack
  6. As a beginning DP, I'm debating on whether I should buy a camera or not. I'm more leaning towards a super16 camera. Now here comes the question of what kind of lenses I should buy for super16. Some people say 16mm lenses are optimized for the smaller image size in terms of lens resolution. Also, it doesn't project too much light outside of the aperture area as a 35mm lens does, and that prevents excessive reflection and flare within the camera. On the other hand, some people say 35mm lenses are well-researched and well-developed enough that it gives similar, if not better, performance - especially at the center of the frame. (I'm not sure if that claim only refers to new lenses like the ultra prime or cooke S4. But I certainly can't afford those). Obviously, my reason of buying 35mm lenses is being able to use the same set of lenses if I move up to 35mm / add a 35mm camera to my arsenal. I want to make my investment as versatle for the future as possible. thanks
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