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Showing results for tags 'Camera'.
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18,25,35,50,75&100mm Contact sales@broadcastsolutions.com for pricing and info.
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Im up to DP my third feature and we are shooting for 20 days. Its pretty ambitious for the budget but we arent doing anything super crazy - it is very much like the movie Prisoners in tone, story and cinematography. The Producer is wanting to shoot single camera, as to not have to spend money on the extra B camera, crew and post costs that come with more footage, and instead is in favor of getting more gear to make a better A camera. My initial thought was that we would need two cameras to make our days (I shot two cameras on my last feature, which was a comedy, and being able to leap frog with setup/shooting and get extra shots in when needed I felt saved us alot of time, and that is what I am pretty comfortable with. my first feature was single camera, but it was all handheld and a much much smaller scale.) This show is 100 percent sticks and dolly, some jib with occasional steadicam. Another thought was to shoot single camera mostly from a small technocrane (thinking the mini 6'-12' technocrane ,moviebird 17 or chapmans Hydrascope 15', I want to use it for interiors and my thought was anything larger might be too large for int scenes.) now I have never used a technocrane, but from what I have read and talking with my Key grip, I have heard they can save alot of time on set, and much are faster than dolly and sticks because I could get most if not all all my shots from a single setup. but they are expensive for sure.. Something to consideration is that I am working with an awesome first time director, but for his sake I thought single camera might be easier for him so he can focus on the one frame and not have his(and my own) attention shift between two cameras, so I feel the end product could benefit from single camera. And making him as comfortable as possible is high on my priority list (I normally operate, but Im choosing to get an operator so I can be with him at video village and support him the best I can) Another idea is having a remote head on a fisher 23 Jib arm on the Fisher 10 dolly in place of a technocrane like deakins does. I have my own thoughts, but in yalls opinion, how would that compare to the technocrane approach? I would love some opinions and advice! Getting a 2nd camera package and crew for it, or single camera on a small technocrane or remote head on jib? The producer is pretty open and trusts me, and I know if I make my case for either one, there is a good chance I'll get what I ask for. Thank you all so much! Chaz
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Hey guys, So as most of these post start out, my budget is slim to none. Now that that aspect is out there. Im DPing a short that takes place in a car at night. the two characters in the car are being followed because of something they have and they are trying to get away from whoever is following them. Thats where the "chase" aspect comes into play. Its no James Bond chase scene but need to feel like they are trying to ditch the car following them. The short is only 5 mins long and will take place half in urban/city area but they head to a more deserted beach area. The picture attcahed is the tunnels location we will shoot EXT shots of the cars driving out of the city. So for all the shots of the two actors in the hero car we would have to mimic the lighting to match what our location offers, multiple sodium vapor lights overhead. My biggest question is how I could go about shooting this section of the film to achieve the following... 1. See the actual tunnel when we have shots looking out windows (rear window, side windows, and front windows) 2. Match the lighting of the tunnel as they pass through. Theres the green screen option where we could shoot the scene. Then take those camera setting (lens, focal length, height etc) and then shoot plates. I feel there is alot of room for error with this option We rent a car trailer from uhaul and rig everything and shoot it practically that way. (cant afford a process trailer) Only issue here is the budget is so small i dont think they could get the permits for such a thing, feel like they could get in trouble having actors in a car on a trailer without proper permission, permits, police escorts, etc Lastly we have the actors actually drive the car through this area rig cameras to the car and have them drive safe and we sell the chase part in the edit. Sounds the easiest but biggest worry is safety. There are alot of factors with shooting car stuff. I appreciate you guys taking the time to read this and help out!! Cheers!!
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For sale a Chinon Pacific 200/12XL Super 8 sound film camera. A very nice camera in good working condition. Features include: Silent and sound super 8 cartridges 50 ft and 200 ft Filming speeds: 18, 24, 25 fps, slow motion (36 fps), single frame Intervalometer timer 1 to 60 second intervals In camera fades and dissolves 72 frames Auto and manual exposure and zoom 12X zoom lens 67mm filter size 6 - AA batteries Also comes with metal lens cap, 2 microphones, UV filter and unused 200' ft Kodachrome film cartridge sealed in foil pouch. Missing rubber eye piece. Asking $95.00 US plus shipping
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Hello Guys, I am gonna start shooting a documentary next week and our main camera will be the PXW-FS7. I already check many topics, tests and other reviews. I first decided to shoot in 1920 X 1080 in S-LOG 3 / Gamut 3. Two reasons to that, first one being mobility and also wish to keep an good latitude for the grading at the director looking to a specific style. Here an example of the kind of footage we looking to end up with For some of the interview we will have a second camera which will be a Sony A7S. The Director already order a Shogun to go with it. As the A7S is capable of shooting in S-Log 2, I wonder: is the Shogun still relevant? And if I have to keep it, should I still set the camera in the Log mode? My worries are that the Shogun record only the under-expose, milky footage from the S-log but without the possibilities of grading which are suppose to come along with it. Then it is possible some day we will have to shoot with C100 but that will become an other problem. Thanks in advance for your answers All the best
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So I wrapped production on a guerrilla short, but a couple of mishaps occurred during the process. The first one was when the Krasnogorsk-3 took a fall. It didn't descend super fast, but enough to damage the cosmetics a tad. Checked everything. Thought the film advancing sounded off. Then it got really off. Opened it up briefly (in somewhat subdued light) and inside it was a mess (film all over the place). I covered myself with a coat and examined the innards, and indeed something went wrong. The take up spool wasn't taking anything up. Thankfully there wasn't much film left, but I wound the rest into the take up by hand. Then I loaded the next roll. The next 100' went smoothly until the same problem (take up spool not taking) recurred to a lesser degree. Again near the end. As far as exposing it, I was in a controllable lighting situation, but I'm guessing the film may be scratched up a bit there, which might actually look cool. I was shooting handheld at this point, and I did move the camera a bit. I'm wondering if that has to do with it? Or perhaps I have permanently damaged the camera? Appreciate any expert hypotheses, thoughts, and comments. I can post a video(s) if needed.
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greetings, This question has probably been asked a hundred times but the goal posts keep changing so here I am. Basically I want to shoot a short film. I'm willing to spend up to 15k for a camera kit and want to make sure I'm getting the best bang for buck I can. The idea takes place in the Australian desert and I'll be looking for hot sweaty actors and landscape glorious colour. There won't be much call for low light conditions. I'm a visual effects artist so I will be adding in various effects such as heat haze and so on and there will be green screen work later in the film. I'd like colour depth to play with and as much resolution as I can afford. I'm not looking for a hand held effect but there will be action shots with possibly a whip pan or two. I'll need several shots close to ground and tracking across the landscape. I was looking at the black magic but got told to stay away and go for a canon eos with nice lenses. So many choices - its like picking tiles for the house! any advise people may have and I'm all ears cheers mark
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I'm starting to look into purchasing my own fluid head and sets of sticks. I typically work on set with the Sachtler 80 and O'Connor 2575 heads, but would like to invest in a head for my own equipment kit. While I'm not in the market to purchase neither of the heads mentioned above, I would like to look into a possible vintage head that would work well with my RED One MX package. Typically my package is fully kitted and lensed with Zeiss Super Speeds, but I occasionally use LOMO Anamorphic lenses, or an Angeneiux 25-250 zoom. I'm currently looking into the O'Connor 50D fluid head, and would like feedback on the model. Also, if anyone has other recommendations I would like to hear those too! Marcus
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18/21/25/35/40/50/75/100mm For Details Contact : sales@broadcastsolutions.com[
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I'm considering starting a collection of 4x4 glass filters. Probably going to start with a basic ND set, and then move on to getting a set of Black Pro Mist. I was wondering if anyone has had any experience using Formatt filters? I'm not sure whether I should just look out for second hand tiffen filters? Obviously 4x4 filters are cheaper than 4x5.65, but what are your opinions on 4x4 filters?
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Is there anyone that have tested the Red Weapon 8K camera? What is the good and bad things about it? Henrik http://www.henrikameyer.com
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Hello, i sell my RED Scarlet (eligible for dragon update) : - RED Scarlet MX canon mount, ready to Dragon (430 hours) - RED Touch 5 pouces + Cable - RED Side SSD - RED Sidehandle - RED Sliding Top handle - RED Outrigger handle - REDmag 64go x 2 - RED station USB3/Firewire800 - Sound Adapter x A-Box - Top plate BERKEY SYSTEM - Bottom with 15mm rod adapter BERKEY SYSTEM - V-Lock plate adapter CINEMA OXYD - Bridge plate type TILTA - Dovetail type TILTA - Shoulder rig type TILTA - Adjustable handgrip type TILTA - Baseplate type TILTA with 19mm rod - Topplate type TILTA with 19mm - 4 x 19mm rod - 2 x 15mm rod - Flight case camera - Pelicase accessories Price : 9000 euros more informations and pictures : jchris@me.com
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We have several of the new Panasonic Varicam 35 4K Cameras available, Demo units, less then 10 hours, full warranty contact for details bvw@vidgear.com 760-200-3634
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Hey! I'm Marco TOMA Tomaselli italian up and coming cinematographer now based in Los Angeles. I got an offer to work in a big union show as AC and because I'm new to the union's world I got some question that I not found answers yet. I'm applying to IER first but I'm not sure how classify myself. In the last year 85% of the gigs I have is as cinematographer, 5% as cam op and 10% as ac. By the way I got enough hours in the last 3 years in each of the 3 positions. I know that when I'll join the union it has to be as you are classify into the roster and I want to be sure that it will be the right one. I want to ends up being a union cinematographer. I know that the contacts I have will hire me as AC (as CamOp in the best situation) and if I join as cinematographer but I'll work for more than 40 days as AC, I'll automatically downgrade. What the best classification to work with freedom in the camera dept? Can I join as Camera op so I work both AC and in the future as Cinematographer? Thanks a lot, Toma. -
Hi all. I wonder if anyone owns the Nikon G to BMPCC Speed Booster from Metabones? It says it works with Nikon G lens. But my question is: Would this work with a Zeiss ZF.2 Nikon mount? I've seen reviews of many people mentioning only Nikkor an Sigma lenses used with this adapter. But I need to know if it works with the Zeiss. Thanks, Flavio
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I'm selling my Arricam LT package. The camera has been carefully handled and is in excellent condition. This is a rare deal as I haven't seen many Arricam LT's for sale for so cheap. Included in the package is: Arricam LT camera body IVS - Integrated Video System Anamorphic and spherical viewfinder Medium viewfinder extension Long viewfinder extension with magnification Viewfinder leveler Heated eyepiece Power bridgeplate with rods Adjustable quick release plate Mask frame glow module Studio mag to Lite mag adapter Top handle Power cable Adjustment hex tools The camera is currently setup for 4-perf. If you have any questions feel free to ask! Asking $20,000 but make me an offer. I'm definitely willing to negotiate.
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OConnor Introduces New O-Rig 15mm Rod Support System
Sue Smith posted a topic in Cinematography News
NAB 2015, Booth #C6025 Universal Hand-Held Support Rig Offers Flexibility Needed for Accessorized Digital Cinematography BURBANK, Calif. (April 6, 2015) - OConnor, a Vitec Group brand and premier provider of fluid heads, tripods and camera accessories for film and television production, will unveil its new O-Rig 15mm Rod Support System at NAB 2015. The versatile, hand-held support rig is perfectly suited to the a la carte configurations of today's accessorized digital cinematography. The O-Rig is designed to work with any camera/lens combination in 15mm LWS (Light Weight Support) configuration, including the latest offerings from Sony, Canon, Nikon, ARRI, AJA, JVC, Panasonic, Vision Research and RED. OConnor will showcase the newest addition to its award-winning lineup of camera supports and accessories at their NAB exhibit (Booth #C6025) in Las Vegas, which runs April 13-16. OConnor's O-Rig is camera and lens agnostic, providing cinematographers maximum flexibility. Its new, proprietary universal baseplate enables quick and easy camera and lens changes. A height adaptor offers cover for all camera bodies, providing rotation of wide-angle filters, and increasing the lens coverage of OConnor's O-Focus follow focus unit. Uniquely crafted to deliver superior ergonomic performance, the O-Rig also allows users to effortlessly move from shoulder mount to tripod and back again. "Whether our users need to bolt an increasing amount of equipment to their camera or they're looking to maximize their rig for as many configurations as possible, the O-Rig can support them," said Steven Turner, Product Manager for OConnor. "All of OConnor's products are engineered to meet the demands of today's challenging camera work, and now, more than ever, flexibility is key. We believe cinematographers, operators, and rental facilities will be pleased to have such a robust and durable solution from a trusted brand." The O-Rig system is housed in a robust Storm Case, fitted with custom-cut, high-density foam. Each kit includes: an award-winning O-Grips handgrip system; an infinitely adjustable offset adaptor, which allows users to easily reposition camera viewfinders and provides comfort adjustments for shoulder pads; and a shoulder pad with hand-stitched leather construction and aluminum detailing, giving versatile positioning of rods through pad for optimizing counterweight, camera balancing, and body ergonomics. Individual elements within the O-Rig kit will also be available, and are compatible with other 15mm LWS accessories. While the new O-Rig system delivers robust quality and ease of use, it was also designed with an eye towards the future. "The O-Rig is the definition of future proofing," added Turner. "As camera technology continues to evolve rapidly, cinematographers and operators cannot be locked in. They need adaptable solutions that allow them to change and grow, and the O-Rig delivers that versatility without comprising performance." The O-Rig 15mm Rod Support System will be available worldwide in May. Customized shoulder rig packages, designed to support specific cameras, can be assembled upon request. For more information, visit OConnor at www.ocon.com. -
6 months old 1x AstroDesign Electronic Colour Viewfinder 2x 1TB Vision Research CineMags 1x CineStation Mag Reader 240v Power Supply 1x Travel Case Email For Pricing : sales@broadcastsolutions.com
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Hi Everyone, I've been getting lot of useful information from everyone on this forum. As you can see this is my first posting, and I would like to thank everyone here. After all this reading and learning....I've finally bought an Aaton A-minima Camera and starting to shoot next week for a project that I've been thinking & planning for awhile. I wanted to post this topic to see if i can get more information about the camera that I've bought & would like to know / learn how to look after this Camera,( general servicing tips?). Im including some information and couple of images below to start the conversation, I hope it will be helpful. I bought the camera from the first owner, camera used under 50 rolls...Camera was lightly used...the set that i've bought includes; -Aaton A-minima Body ( Serial No : A284 ) - Really curious about what this serial can tell? - -Magazines (x3) -Oppenheimer Battery Handle Accessory - anyone had an experience with this accessory ? Battery Handle (x2) Swan Neck" attachment Mini-Base 15mm rods (4+2inch) -Battery Charger, Cables, Pelican Case, some filmstocks, extra minima spools, cables....etc (for more images...) Thanks again, _Emrah
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I am looking to purchase a Aaton XTR Plus, but I cannot find one. The only one I have found is one in LA but I have questions about its past as the seller says: "I am not a filmmaker and don't know....." it sounds like stolen kit to me. So back to my point, would anyone be able to help me on my way to finding one of these cameras. Thanks.
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Three Strada Cranes 2-85' & 1-87' $125,000.00 Each One Akela Crane 85' $75,000.00
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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? -
I am doing a commercial in a weeks time but the product is made of Chrome, and so really really reflective!! Any suggestions or people's experiences, for filming products like this and how to avoid/best approach this??? Thanks!
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I've became really passionate with Cinema in the past 3 years, and before that I was already passionate about photography, for about 6/7 years now. And so I've decided that I'd like to experiment on this journey of filmmaking since it's something I quite enjoy doing and am currently studying. There's a lot of independet DSLR filmmakers now which is amazing. And so I've decided to buy a new camera! From my previous experience with photography, I'm more of a Canon fan since I first started with the classic Canon AE-1. I don't really have a big budget, but I'd like to invest in something that has quality and is worth the price, and that will be able to last me a couple of years until something greater comes along or I am able to afford a better one. Since I am between photography and filmmaking, I was looking for a camera with both. Or would it be better to just invest in a filmmaking camera? (I own a Canon 1000D for photography, but it doesn't capture video.) And if I do go for a DSLR with both photography and video, I thought about Canon 70D, since I can't afford a Canon 5D and I think it might be a little out of my league yet. So please, I'd appreciate some opinions if possible! :)
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I was about to rent HMI Lighting (day light) for one of my shoot. I was told that HMI lighting can be used only with crystal cameras. What is crystal camera? I goggled it and couldn't get anything that are explained in layman terms. We are shooting in Canon 5D Mark II and Sony PMW-EX3 cameras. Thanks
