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My Gear


Found 17 results

  1. Minimal Camera Crew for independent productions Not long ago, I wrapped an independent feature that was shot in Morocco with a DoP I had already worked for on two more movies. From the very first contact with the production company, it was quite clear that it was a low budget movie, therefore it was mandatory to squeeze the most out of every single euro in order to make the shooting possible according to the schedule, without the need to do extra hours and such. As usual, I advised the director of photography on the gear list, try to get everything I considered necessary and making a separate list of devices and accessories that could be considered dispensable, hoping that finally the production company would come to an agreement with the rental house. Since the prep time had been very short, there was a lot of information about the shooting I wasn’t aware of, and now that I came back I would like to share what I've learned from this experience. Speaking about gear and accessories, I realized that there are some of them that are wrongly considered “fancy”, while it’s precisely in low budget productions when they become more handy and/or essential. Here more: https://www.camaleonrental.com/gb/blog/minimal-camera-crew-for-independent-productions.html
  2. Take the camera and Run - Film cameras Blog As happened to me quiet a few times lately (and I have the feeling it will keep on happening) I found myself in one of the shooting situation I dislike the most, which is when more or less suddenly As happened to me quite a few times lately (and I have the feeling it will keep on happening) I found myself in one of the shooting situation I dislike the most, which is when more or less suddenly the 1st AD tells me :”Put in that van everything you’re gonna need for the rest of the day, we’re moving to a new location which is an hour drive from here. Don’t forget anything, be fast and please… keep it simple!”. Of course, I’m not speaking about situation where this was in the callsheet, in that case it is pretty easy to be prepared. I’m speaking of those times when a sudden change comes up (rain on location, new shooting plan, talent’s agenda variations and an awful long etc.) and we need to improvise, which is from my point of view one of the most important skills of a good AC. I’m pretty sure that some of you came up quickly with an answer like :”Ask the DoP!” and even though it is logic, if life was so easy everybody could be a top notch assistant cameraman. Normally, when this kind of situations happens, there has been an important change in the order of the shots, so is pretty likely that the DoP has his hands full speaking with the gaffer and/or the best boy about the new situation, discussing with the director all kind of lighting issues etc. Of course, the camera crew also will need confirmation from him, but is going to be much more fast if we do all the thinking, and then we just ask for a confirmation of the equipment list. Plus, making sure there is everything is needed for the shooting camera wise is one of the duties of the first assistant. More here: https://www.camaleonrental.com/gb/blog/take-the-camera-and-run.html
  3. Hi, I'm a 2nd year AFI Cine fellow, and I'm shooting my thesis Nov 30th to Dec 4th. I'm looking for an experienced 1st AC. I'm not expecting someone with years of experience, but must have some experience as the film have some challenges. The overall film is pretty dark, and there will be lots of handheld movements in parts of the film. Ideally, I would need someone for the whole period, but more importantly Nov 30th and Dec 1st is more crucial. I'm also looking for a grip for the entire period + one day of pre-lighting on Tuesday Nov 29th (NoHo soundstage). We will be 1 day at the soundstage, 2 days at a car wash in Glendale (only exterior) and 2 days in Cieniga (mostly interior). It's 10h days + 1h lunch. And we will be shooting evening/night for 4 days and 1 day from around 9am - 8pm. Unfortunately this is not a paid job as it is a student film. Contact me if your are interested or have any questions. Instagram: dp_leobehrens email: lbehrens@afi.edu Text me: 213 588 5591 ______________________________________________________________ The film is a heist film. Two brothers are robbing a car wash. The main character is in a toxic (family) relationship with his older brother, and is trying to escape him at the end of the film. The older brother gets caught by the cops, while he gets away.
  4. Sniper Package $6000 MK3 Laser & Display paired and with newest firmware Smoke Iris 17 Degree Lens 5 Degree Lens Optical Flat P&T Bracket Noga Arm 5 Batteries 2 Chargers Power Cables 1 P-tap to 2 pin coiled 1 3-pin to 2-pin coiled 1 straight 3-pin to straight 2-pin 36” 1 straight 3-pin to 90 degree 2-pin 36” Preston MDR interface cables 1 short 90 degree to straight 16” 1 long 90 degree to straight 36” 1 long 90 degree to 90 degree 36” 1 Display Cable 36” Manual $6000 , shipping included in price, if purchased in the Continental US
  5. Hey I'm selling my Digital Bartech. It was serviced last year and haven't used it since. Looking to get $2300 for everything, but open to offers. Possibly interested in selling Heden Motor separately. If your in Los Angeles I'm available to show you item in person. Package includes:BFD Hand UnitBartech Receiver V2Heden Motor (m26ve) w/ multiple gears2x motor cables3x D-tap power cables2x 2-pin lemo power cables6x Aluminum Marking DiscsPortabrace Hardcase thanks
  6. For Sale: Cine RT Focus Bug standard Kit without high bright display RRP USD $8500 Price: USD $7250 This is the newest, and best version of a cinetape like system but with better range, capabilities like distance lock-out, the ability to place tracking bugs on actors and around locations and many more amazing features. All Items are in excellent condition. This has been my personal kit. Includes: 1x CineRT Ranger/Tracker Handset 1x CineRT Ultrasonic Ranger/Tracker Base unit 2x Cine RT Ultrasonic Tracking bug with charge cables. (Some labelling has come off the back of the bugs as I have used double sided tape to stick them to things) 1x 2' 2pin-2pin power (straight to right angle) 1x 3' 2pin-2pin power (straight to right angle) 1x 30" Cinert Serial Cable ( for Arri LCS integration) Photos: https://photos.app.goo.gl/rrNrT4yrbH1hb9WEA Based in Australia but happy to ship.
  7. Hello Friends, I was wondering if you can share in details all what's in your Assistant Kit (1st Ac's, 2nd Ac's, DIT's, etc.) I'm putting together a new kit and i was hoping to get help by looking at what others have. it would also be awesome to include pictures. Thanks! M.hissi
  8. Cinetape is one of those tools that is very helpful for focus pullers, but it's very expensive. Would anyone be interested in an affordable Cinetape solution? I'm curious to know because I'm developing one that measures FT-in or M-cm, will be using a 5v rechargeable battery, LCD Display, and mounting options. Future upgrades would integrate with your phone via App, Bluetooth, and VR headset. The idea is to also make it as accurate as possible, we all know ultrasonic sensors have their issues but for those who use Cinetape and know of its value I'm curious to know if you'd be interested in a more affordable option that doesn't compromise quality and accuracy? Let me know in the comments below, thanks.
  9. Greetings, Has anyone here attempted follow focus work from a Teradek Cube and an iPad? According to Teradek, there is only a one frame delay, which I think would be very doable for bigger depth of field focusing and other less critical situations. Any experience, feedback, and or advice is appreciated. Thanks, Bryan Matuskey
  10. Hey Everyone! My name is Seth Compton, and I want to be on your camera team! I'm a hard worker with a large knowledge of industry standard gear & protocol who is eager to help push your camera team to the next level. I have experience in a variety of aspects in our industry from manufacturing to production. I guarantee you will find me to be one of the best, most friendly AC's you've worked with. I come with a full complement of tools to build/tech almost any set-up, and have references on the ready to back me up. I am currently working towards my union hours goal in order to become Local 600, so I figured why not reach out to this community and see if anyone is willing to give me a try. Attached is my resume if anyone wants to take a look. I look forward to seeing some of you on set! Cheers, Seth **Edit** Here is a link to the trailer for the most recent film I worked on. Enjoy! Seth Compton Resume V2.pdf
  11. Hello! I am seeking advice on how to best prepare for an upcoming shoot where I'll be focus pulling with the ARRI Master Anamorphic Lenses (35mm, 50mm & 75mm). This is my first time focus pulling with these lenses, and anamorphic lenses all together and I want to make sure I am fully prepared to do my job right. I am still relatively new to focus pulling (less than 2 years experience) and would greatly appreciate some advice to help me through this shoot. I have been reading the forums about anamorphic lenses but I have yet to find specific info on the Master Anamorphics. My questions are: 1) How do I measure focus when there is an arc in the focus plane. I read that if a subject is 6ft away and the lens is set to 6ft, then the subject will be soft. Is there an equation for calculating the distance from the lens plane, to the subject while taking the arc of the anamorphic lens into account? 2) Does the iPhone app PCam help camera assistants with these sorts of calculations? (If so, looks like I will finally be buying that app!) 3) When shooting at T1.9, do these lenses breath in a distracting way? Meaning if I'm racking focus at T1.9 and I happen to miss a mark, will it be extremely obvious because of the breathing effect? 4) We will be shooting in the middle of the desert during the day & night, so does anyone have any tips in regards to the difference in pulling focus wide open vs. fully closed down on these lenses? I am still not 100% sure if I am asking the correct questions and ALL of the questions that I need answered in order to be prepared. But I would really appreciate any advice that you can offer to a camera kid just starting out in the business. Merci beaucoup! :D
  12. I've been on many shoots that used Camera carts, but not owning one, most of the time the production just rented one for me. I'm about to make a decision - buy a camera cart for my AC gigs or just keep on letting productions rent one. The way I see about the carts are that you probably will never make money off of it. Yes it's nice to have one, but there are too many rental houses that rent out carts for dirt cheap... and as a owner/operator, I probably will never get the money you invested (perhaps in a very long run.) Owning a piece of gear has got to be a business choice, so from a business stand point when I know I cannot beat the rental company's prices, should I own one and underbid them by biting the bullet, or save the money for something else? What are your thoughts?
  13. Hi all, I am in the middle making a few purchases for my AC kit and was wanting some tips/advice on anything I may not have, or alternative suggestions. I generally work as a 1st AC on low budget Short films, Music videos, TV Drama, and Commercials. I want to build a kit that is flexible between job to job and could be used for indie features. Kit: SetWear Heat Resistant Gloves Tweezers 1x 20m (blue) rope 1x 10m (green) rope Twin Uniden UHF radios Sunglasses SupFire LED torch Head Torch AC Belt Pouch Lens Blower Lens brush Dentist mirror Sekonic L-758CINE light meter MacBeth Colour Chart Assorted BNC Barrels and Connections 1x Bungee (Small) cord, 1x Bungee (Large) cord 1x Hard Tape, 1x Fibre Glass Tape Mini Stapler Adhesive Labels (for identifying cameras on multi-cam shoots) Reversible Cable ties, Standard Cable ties (Small&Large, multicolours) WD-40 (250ml) Falcon Compressed air Helix Stencils Notepad Lighter XXX mints Tissues Misc; iPhone 4 Charger cable USB powered LED Light Portable USB Battery Pack Spirit Level Mini First AID Kit Panadol 2x Rubber Door Stopper 50ml Hand Sanitiser Tools; WAVE Leatherman Screwdriver Set Gorilla Grip Allen Key set Tapes; 1-inch Pro Gaff Fluro Camera Tape (Green) 1-inch Pro Gaff Fluro Camera Tape (Pink) 1-inch Pro Gaff Fluro Camera Tape (Yellow) Nashua Gaffer’s 357 Tape (Black) Stylus Black Electrical 18mm Tape Stylus Camera 25mm Tape (Blue) Stylus Camera 25mm Tape (Red) Stylus Camera 25mm Tape (Yellow) Stylus Camera 25mm Tape (Green) Artist Tape 25mm Paper Tape (Green) Safety Red & White Tape Markers & Pens; Black Sharpie 4x Staedtler Non-Permanent Fine Point (.6mm) markers Black Ballpoint Pen Artline Permanent marker Builder’s Marking Crayon Follow Unit & Accessories; BarTech (Analog) Focus Unit RedRock Micro CineTape (with Redrock Arm and D-Tap power cable) TV Logic 5.6’ on-camera Monitor (with SDI cables, D-Tap cable, Noga arm). Paralinx Arrow Plus (with CrossBow and Blackmagic HDMI to HD-SDI) Ditty Bag: Notebook 9v Batteries AA Batteries AAA Batteries Coloured Rubber Bands (in Zip Lock bag) 1” Brush & 2” Brush Bluestar (Large Round) Viewfinder eye cushion 3x Cable Clamps Currently purchasing: ARRI Production Bay (Large) Insert slate Slate Clapper Sticks Slate Tags 2x Marker Sausage Delta 18% Grey Card 70” x 60” Clear Camera Rain Cover Focus Star Chart 1x Larger Scissors, 1x Small Scissors Super Glue 1x Bungee (Large) cord Multicolour Golf Tees White Tak Self-Adhesive Tape Stanley Blade Tungsten Worker’s Torch 4x Mini Highlighters Artist Tape 25mm Paper Tape (Blue) Artist Tape 25mm Paper Tape (Red) Staedtler Lumocolor Whiteboard markers Re-Usable Silica Gel (for AC bag) Magliner Junior (with 24” shelves). Any other suggestions? Thanks.
  14. Hello All, I was wondering what resources I can use to learn about the massive amount of camera accessories and inputs and outputs for cameras and their accessories. I keep finding pictures of these huge camera rigs, where I cannot determine what some of the accessories may be. I want to learn as much as I can. Currently, I have been reading the Camera Assistant's Manual by David Elkins and working my way through Evan Luzi's blog, The Black And Blue. I also understand that much of this I will learn as I get more experience on sets, I have actually been able to learn a good (but small in perspective) amount of information about Red Epic cameras while 2nd ACing on an indie feature. As somebody determined to become an excellent 1st AC, any advice on where else I may look would be greatly appreciated and put to use. Best Regards, Joseph Robinson
  15. RED Camera (Scarlet-X) Camera Package W/ Lenses. ( not insurance necessary ) Hello, I'm a Cinematographer / AC based out of LA and I travel anywhere. I want to learn about your project as I look for best ways to contribute. Demo Reel: http://www.usphotograph.com Please Contact via website or Cell: 310-936-619 four Gear: Red Scarlet-X 4K package w / Great lenses $350/Day ( Promotional offer ) I can DP or AC, Day rate $350. ( Promotional offer ) List of gear http://diegotorroija.com/portfolio-2/gear/ Also available, sliders, steady cam, lights, grip gear, sound gear. Clients include: Puma, PGA, Holiday Inn, Orbitz, Intel, Clairol, Rooms To Go, and more , Camera Operator, cinematographer, Videographer, D.I.T, 1st Ac, Red Epic, Red One camera, Red Scarlet music video, shorts, commercial, Feature films, Steadicam, Canon 7D, 5D Mark III, camera slider, Dolly, Red one camera, Red epic, Red scarlet, HMI, Tungsten, Kino Flo, Hvx200, DVX 200, Sony, Canon 7D Canon 5D Dslr Arri fresnel C stands Red Epic Scarlet Dolly camera HD gaffer cinematographer DP, slider zip lights Led lights flat head 80 lights grip flags apple box light stands joker source four Hmi Par mathews dolly Idx V mount batteries HVX 200 tripod fluid head storm case HVX 200 Red One Camera, Designed, Red Charger, Red Monitor Ikan zip lights Arri tube
  16. I'm selling a yaeger mitchell mount base bar and tripod hooks bar for $375. There's a few nicks from general wear and tear but are solid and will last forever. I would sell separately if need be. (these items new would cost $466) Thanks! -coreygegner@gmail.com
  17. I've just been given a great opportunity to be 1st AC on my first film project. I don't know much about it yet but it is a two day shoot on an SR3. I have worked on a film shoot as a 2nd twice before, once as a clapper-loader and once as a trainee, other than that all my projects have been digital. I’ve got just under 2 weeks to get myself ready and I’m trying to take as much on board as possible. First, what are the main things that need to be covered when prepping for a film shoot? I’m particularly concerned about the accuracy of lens markings given this will be absolutely critical without a monitor to check. We will have 1 days prep in a rental house what are the tests I should be doing and what should I be looking for? Second, although I try to use the monitor as little as possible when shooting, I do use it for spot checks before rolling to check that I haven’t blown a shot, I’m slightly nervous about focus pulling completely blind but excited about as well! Would you recommend doing anything differently on film opposed to digital? I don’t have a DoF calculator but would investing in a Kelly’s be necessary or worth it? Is there any kit that I may be overlooking from my floor bag that I wouldn’t use on digital but would need on film e.g. cleaning? I will be spending time practising my focus guessing and reading through the Camera Assistants manual over and over but what else can you recommend? Despite a few nerves I’m really looking forward to working with film again and getting that experience, just want to make sure it goes as smooth as possible. Thanks for any suggestions.
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