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I'm ready to do some tests with my Eclair NPR camera and I have some questions after practicing loading the magazines... Obviously I'm missing something simple and I've spent some time searching yet haven't found the answers so please forgive the basic questions: 1) Can someone explain the importance of the "loop"? It's very specific about 12 images with 6 on each side. I don't think the manual I have explains why this is important and what will happen if the frame count of the loop is incorrect or if it's out of alignment. Will it effect the image? Will there be flickering? 2) Assuming the loop is important, why is it necessary to then press the film into the magazine? (thus reducing the loop, I count 8 frames after my loop is pressed in). The videos I've seen go to some length to detail exactly how the loop is formed... only to quickly say "and then when you're done you press it in and load it onto the camera..." Again please forgive my ignorance and thanks for your patience -B

Looking To Purchase Red Epic-X Packages. Do not need batteries or charger. Please email details and price to : sales@broadcastsolutions.com

Hi Guys, Maybe a stupid question, but I work from the standard Conterra harness and have pens, sharpies, tape measure, scissors etc, but always notice other AC's with extremely small rolls of gaffer tape attached to their harnesses that I can't find anywhere online or in rental houses/kit houses etc? They look like 1" gaffer tape, but wrapped around on old 35mm magazine cores strangely? Am I completely missing the mark here haha? Any help appreciated, hank you! Tom

For sale is my beautiful 2-perf (Techniscope) Arri 3C (IIIC) camera package. This camera was never a rental and it looks like it's hardly ever been used, it's in such beautiful condition. I've owned it since 2009 and during that time I found and bought an original Arri factory 2-perf conversion kit, which was installed by the technicians at Clairmont Camera in North Hollywood. I'm guessing everyone here knows why 2-perf is so great. But just in case... basically you get twice the run time from the same amount of film. A 400' roll of 35mm film running at 24 fps lasts about 8 minutes instead of the usual 4 minutes. A 200' short end is suddenly not a pain to work with since it lasts about 4 minutes. So that means you spend half as much money on film stock and processing since that's paid by the foot, too. The aspect ratio is naturally 2.40:1 at the gate so it's well suited to that cinemascope look, but much less expensive than anamorphic on film stock/processing (not to mention lens rental costs). If you wanted to shoot 1.85:1 on this camera, you could have the ground glass pencilled with two vertical lines to create 1.85 within the 2.40, and you'd still have roughly twice as much negative area than if you shot 1.85 on Super 16. I know of a feature film that just wrapped which did exactly that. Some recent and beautifully-shot 2-perf films: "Hunger", "Shame", "The Place Beyond the Pines", "American Hustle", "The Fighter", "Silver Linings Playbook", to name a few. Includes: - Arri 3C Camera body with PL mount port cap, body (magazine) port cap, in custom shipping case - Custom-made by Shurco 2-perf 2.40:1 Arri-3 style ground glass, with clear plastic case - Panavision (PV) Mount (PL mount currently installed, centered on Academy, not Super) with some shims - Cinematography Electronics Crystal Motor Base (could also be used with an Arri 2C, best motor you can get for these cameras) - Arriflex 3C Crystal Handgrip Motor (12V) with screws and gear (could also be used with an Arri 2C, a very rare item) - Italian Flatbase Motor Adapter Plate for above handgrip motor (ECE - ROME), untested - Custom Samcine Hand Held Support Brackets for IIC/IIIC in small hard shipping case - 2x 400' Arri 3 mags in a 2-hole mag case - 4x 200' Arri 3 mags in a 4-hole mag case. Note, two of the mags need some minor servicing. One looks like it's never been used - 2x 400' Fromm Shoulder Mags with spare rubber belt drives and 1x adjustable shoulder bracket (no case) - Jurgen's Orientable Video Door for 3C with Sony Color CCD camera - Arri Hand Held Door for 3C - Arri Orientable Door for 3C - Arri Straight Door for 3C with 2x Anamorphic desqueeze lever - Flat cover for above Straight Door if anamorphic dequeeze module is to be removed - Wide Angle Deniz Eyepiece with rubber eyecup that has shutter that can close - Spare Arri Eyepiece with rubber eyecup -push eye against eyecup to open shutter type, helps prevent light leaks - 1x Jurgen's Extension Eyepiece - 1x Arri Extension Eyepiece - 1x Arri Right Handgrip (no on/off switch) Arri Rosette style attachment - 1x Rosette to Rosette extension arm (adapter bracket needed/not included to use with above handgrip). Bracket pictured in hand held mode is not included) - 1x Unknown Brand Balance Plate Top A35/S35 switchable, like BP-9 (for 15mm rods) - 1x Van Diemen Balance Plate Bottom (Dovetail) ~12" - 2x 12V 4-pin XLR to 4-pin XLR power cables, one with a pigtail - 3x Power Cables for Jurgen's Video Door - 2x Medium Carbon Fiber rods (15mm) - 2x Medium rods (15mm) - 2x Short rods (15mm) - 1x SR2/SR3 type LWS 15mm bracket with 2x screw-in extension rods (for attaching to front of CE Flat Crystal Motor Base - Arri grease The inching knob (shutter/frame advance knob) has three holes drilled in it which was done to attach a hand-crank module from Clairmont Camera for a commercial (shot before the 2-perf conversion). Due to the 2-perf conversion, the Cinematography Electronics Crystal motor base does not count footage correctly. Simply divide the readout by half for an accurate footage count. I've created an album on Flickr with quite a few photos. On the wide photo with everything, you may notice two smudges. I've erased two items which I realized after the fact have no relevance or use with this package. I've also included some frame grabs from a music video I made with this camera after the 2-perf conversion. It was a joy to shoot with, performing flawlessly with not one instance of a hair in the gate. It was almost entirely shot with short ends of 200' or less. If you're not familiar with the 3C, you could think of it as the final refinement of the 2C before the Arri 35-3 came out, mostly designed as a result of engineering Arri did to the 2C for the German WW2 film "Das Boot". It has an orientable door which keeps the horizon level as you reposition the eyepiece up or down (on the 2 doors here that let you swivel the eyepiece up/down). It has a more sturdy hinged door (not interchangeable with the Arri 35-3 door), unlike the metal prongs which hold the 2C door to the body. That design was never intended for the weight of a Jurgen's video door and I've seen a few 2C bodies that are wearing out where these prongs grip, making it risky that the door could fall off. The 3C came from the factory with a PL mount, and it has a very nice crystal handgrip motor which is often sought after since it works just as well on the 2C. Something else I like about the 3C, they have a variable shutter, something that's hard to find on a 2C. The 3C also has a rosette for mounting accessories, right by the inching knob. The 2C doesn't have that. This is a beautiful example of the very rare Arri IIIC. The 3C movement is the same as the 2C movement and motors, mags and of course ground glasses are interchangeable. It took me many years to assemble this package so at least initially, I won't consider splitting off pieces of it. That said, feel free to get in touch if you're interested in something, and I'll keep you in mind. Available for $6,500 Or Best Offer. Available to see in NYC or Los Angeles, if you cover shipping costs to LA. For convenience, preference will be given if there is a buyer in the NYC (1st) or Los Angeles (2nd) area who will pick up in person and pay cash. I live in NYC but have friends/family in LA who can coordinate a sale in LA for me. Please check out the pictures and shoot me a private message if you're interested or if you have any questions. Thanks for looking! Rich https://flic.kr/s/aHskwM83a3

Can anybody recommend a decent camera report app (something that can be used on a Desktop, iPhone, iPad...)? I'm just looking for something that logs: Project, Scene, Take, Date, Camera Settings (ISO, Shutter, WB, Color Prof, Stop, FPS, etc..). Not so much for Metadata or TC. Ideally something that can export as PDF and be moved to dropbox or a drive fairly quick. Thanks for your help!

Hi all, I'm starting prep work for my college thesis at Emerson and I'm researching into the different challenges with shooting the project on film. I'm particularly thinking 16mm, just for budgetary reasons, and can't seem to find a Super 16mm camera that shoots up to 300 fps other than scientific/military cameras. The film is about a track athlete, so I'm wanting to get some very beautiful, frozen moment shots of our talent running. Does anyone know of any cameras that shoot as high as 300 fps? I see most of the HS cameras from Arri only go up to 150 fps. Thanks!

I'll be traveling from LA to Berlin, Zurich, and then back to LA and I was curious if y'all could tell me about the restrictions/regulations of traveling with gear. I'm trying to put together a small camera package that can be put in to the overhead compartment, I know there's some business with lithium ion batteries so that's definitely a concern. Also, any recommendations for cameras of the 4K variety that are compact would be amazing. Thank you in advance!

Hi all, I am hoping to get some Cam PA gigs while out in LA for the semester and was just wondering what everyone's perception is of the Camera PA. What are their duties/responsibilities? What is expected of them? Was just looking for some outside input to know what to bring to the table. I imagine it's nothing glorious, and with a good 1st and 2nd, I could see a lot of standing around waiting to help being a reality. Thanks!

Hello all, My name is Robert, currently heading into my graduate thesis film production, with a question about shooting two different cameras over one production. During prep with the director, the idea of shooting 2 cameras came up as I was camera testing with a Canon c700 and the Canon Cine Primes, which I have decided to use as an A camera. As it stands, our budget won't allow for a second c700 to act as B camera, however we currently have an f55 w/ Ultra Primes reserved from the school's equipment house. Having tested both cameras, I know that each camera possesses different characteristics and will not match right off the bat. That being said, does having a two-camera setup where the cameras are inherently different make sense given the differences in specs (color space, dynamic range, codex etc.)? Is it feasible given that it can be adjusted in the DI, and would it be possible to get the cameras close during production. Because of the different characteristics and looks, I have toyed with the idea of using each camera situationally based on their given strengths, but in some cases I would need to have a B camera available to support the A camera. I realize that I may be giving myself more work in the long run, and I'm sure there are things I am missing, but I would greatly appreciate any idea, advice and expertise on the topic. Thanks in advance, RC

Time for me to sell one of my other Super16 camera : - 1 Bolex EL super 16 mm. Converted from normal 16 to S16 by Les Bosher, UK. Used, some small dents on the surface, but the camera works well. I shot one of my first documentary film with it. About settings : from 10 fps to 50 fps, film speed from 25 asa to 1600 asa, built-in lighmeter. Included : - 1 Bayonet to c mount adapter - 1 battery - 1 battery charger - 1 set of filters holder. Located in Europe. Price : 1000 euros. High res pictures on demand. ( you can e-mail me at : dartwiller@yahoo.fr) I hope my baby gonna find a new home.

Pictures available on our website or by email request. Contact us with any questions or to place an order. ______________________________________________ PRIMES: - Arri/Zeiss Ultra Prime 20mm = $12,500 - Arri/Zeiss Ultra Prime 65mm = $12,000 - Arri/Zeiss Ultra Prime 100mm = $12,500 - Arri/Zeiss Variable Primes Set of 3 - VP1/VP2/VP3 = $15,000 - Cooke Optics S4/i 16mm = $13,500 - Cooke Optics S4 Set of 8 - 14/18/25/35/50/75/100/135mm = $123,000 - Cooke Optics mini S4/i Set of 10 - 18/21/25/32/40/50/65/75/100/135mm = $60,000 - Leica Summilux-C Set of 10 - 18/21/25/29/35/40/50/65/75/100mm = $320,000 - UniQoptics Set of 6 - 18/25/35/50/85/100mm = $14,000 - Zeiss Standard Prime 10mm = $14,000 - Zeiss Standard Prime 12mm = $5,000 - Zeiss Standard Prime 14mm = $8,000 - Zeiss Standard Prime 16mm = $6,000 - Zeiss Standard Prime 20mm = $6,000 - Zeiss Standard Prime 28mm = $6,000 - Zeiss Standard Prime 40mm = $5,000 - Zeiss Standard Prime 100mm = $6,000 - Zeiss Standard Prime 135mm = $6,000 - Zeiss Standard Prime 180mm = $7,000 - Zeiss Standard Prime Set of 9 - 16/20/24/28/32/40/50/85/135mm = $45,000 - Zeiss CP.2 Compact Prime Set of 9 - 15/21/25/28/35/50/85/100/135mm = $32,000 - Zeiss T1.4 Speed Prime Set of 5 - 18/25/35/50/85mm = $30,000 - Zeiss Mk2 Super Speed Set of 5 - 18/25/35/50/85mm = $58,000 - Zeiss Mk2/Mk1 Super Speed Set of 6 - 18/25/35/50/65/85mm = $65,000 - Zeiss Mk3 Super Speed Set of 5 - 18/25/35/50/85mm = $85,000 ZOOMS: - Angenieux HP 25-250mm = $9,000 - Angenieux HR 25-250mm = $14,000 - Angenieux Optimo DP 16-42mm = $10,000 - Angenieux Optimo DP 30-80mm = $10,000 - Angenieux Optimo Style 16-40mm (Brand New) = $16,750 (0% financing available) - Angenieux Optimo Style 30-76mm (Brand New) = $16,750 (0% financing available) - Angenieux Optimo Style 48-130mm (Brand New) = $22,750 (0% financing available) - Angenieux Optimo Style 25-250mm (Brand New) = $38,000 (0% financing available) - Angenieux Optimo 15-40mm = $32,000 - Angenieux Optimo 15-40mm (Brand New) = $39,750 (0% financing available) - Angenieux Optimo 28-76mm = $32,000 - Angenieux Optimo 28-76mm (Brand New) = $39,750 (0% financing available) - Angenieux Optimo 45-120mm (Brand New) = $39,750 (0% financing available) - Angenieux Optimo 17-80mm = $38,000 - Angenieux Optimo 19.5-94mm (Brand New) = $54,000 (0% financing available) - Angenieux Optimo 24-290mm = $58,000 - Angenieux Optimo 24-290mm (Brand New) = $73,000 (0% financing available) - Angenieux Optimo 28-340mm (Brand New) = $76,000 (0% financing available) - Cooke Optics 14-70mm = $12,000 - Cooke Optics/TechnoVision 18-90mm = $14,000 - Cooke Optics 18-100mm = $9,000 - Cooke Optics 20-60mm = $11,000 - Cooke Optics 20-100mm = $9,000 - Cooke Optics/TechnoVision 25-250mm = $14,000 - Cooke Optics 25-250mm (Mk2) = $5,000 - Cooke Optics 25-250mm (Mk3) = $7,000 - Fujinon Cabrio 14-35mm (Brand New) = $29,400 - Fujinon Cabrio 19-90mm (Brand New) = $27,860 - Fujinon Cabrio 20-120mm (Brand New) = $16,400 - Fujinon Cabrio 25-300mm (Brand New) = $30,800 - Fujinon Cabrio 85-300mm (Brand New) = $29,400 - Fujinon Premier 14.5-45mm (Brand New) = $79,750 - Fujinon Premier 18-85mm (Brand New) = $69,850 - Fujinon Premier 24-180mm (Brand New) = $69,850 - Fujinon Premier 75-400mm (Brand New) = $76,800 VINTAGE & ANAMORPHIC: - Angenieux Optimo Anamorphic 30-72mm (Brand New) = $63,500 (0% financing available) - Angenieux Optimo Anamorphic 56-152mm (Brand New) = $48,000 - 1x LENS AT THIS PRICE (0% financing available) - Angenieux Optimo Anamorphic 56-152mm (Brand New) = $63,500 (0% financing available) - Angenieux Optimo Anamorphic 44-440mm (Brand New) = $74,500 (0% financing available) - Angenieux HR Anamorphic 50-500mm = $32,000 - Bausch & Lomb Super Baltar 25mm = $10,000 - Bausch & Lomb Super Baltar Set of 5 - 25/35/50/75/100mm = $48,000 - Bausch & Lomb Super Baltar Set of 6 - 20/25/35/50/75/100mm = $60,000 - Canon K35 Macro 25-120mm = $25,000 - Cooke Optics/TLS Panchro Set of 7 - 18/25/32/40/50/75/100mm = $62,000 - Cooke Optics/TLS Panchro Set of 9 - 18/25/32/40/50/75/100/152/203mm = $85,000 - Elite Anamorphic Primes Set of 5 - 25/40/50/75/100mm = $100,000 - Elite Anamorphic Primes Set of 6 - 25/32/40/50/75/100mm = $135,000 - Kowa Anamorphic 40mm = $28,000 - Kowa Anamorphic 50mm = $26,000 - Kowa Anamorphic 75mm = $26,000 - Kowa Anamorphic 800mm = $20,000 - Kowa Anamorphic Set of 3 - 40/50/75mm = $75,000 - Kowa/TLS Cine Prominar Set of 8 - 15/20/25/32/40/50/75/100mm = $140,000 - Lomo Anamorphic Set of 4 - 35/50/75/100mm = $68,000 - Zeiss Ultra Scope Anamorphic 85mm = $9,000 TELEPHOTOS: - Canon FD “Series 2000” 400mm = $5,000 - Canon FD 600mm = $4,000 - Canon FD 800mm = $4,000 - Nikkor ED 200mm = $5,000 - Nikkor ED 300mm = $7,000 - Nikkor ED 300mm T2 = $10,000 - Nikkor ED 400mm = $7,000 - Nikkor ED 600mm = $7,000 - Zeiss Tele-Apotessar 300mm = $8,000 SPECIALTY OPTICS: - Angenieux Optimo 1.4x (Brand New) = $3,000 - ARRI-Macro “Auto-Exposure Compensation” 100mm = $16,000 - Century Low Angle Prism = $12,000 - Century/Clairmont Swing Shift Set = $20,000 - Cine Magic Revolution Probe Relay System = $65,000 - Kardan Shift & Tilt Set = $16,000 - P+S Technik Skater Scope = $29,000 - Veydra 1.2x Expander (Brand New) = $2,500 - Zeiss “Aspheron” 5666 Wide Angle Front = $2,500 - Zeiss CP.2 Compact Prime Makro-Planar 50mm = $3,750 - Zeiss Makro-Planar 60mm = $10,000 CAMERAS: - Arriflex Alexa = $17,000 - Arriflex Alexa 4:3 Plus = $22,000 - Arriflex Alexa XT Plus = $50,000 - Arriflex Alexa STX = $60,000 - Arriflex Alexa STX Plus = $75,000 - Vision Research Phantom Flex HS2K = $30,000 - Vision Research Phantom Miro LC320S = $45,000 SUPPORT: - Arrihead Geared Head = $15,000 - Arrihead Reduction Gears = $5,500 - Cartoni C40 & Dutch Head Package = $8,000 - Cartoni Lambda 25 Nodal Head (Brand New) = $8,750 - Cartoni Lambda 50 Nodal Head (Brand New) = $14,450 - Oconnor 50D Fluid Head (Refurbished) = $1,200 - Oconnor 100 Fluid Head (Refurbished) = $2,000 - Oconnor Ultimate 2575B Fluid Head = $8,000 - Oconnor Ultimate 2575D Fluid Head (Brand New) = $12,000 - Oconnor Ultimate 1030Ds Fluid Head (Brand New) = $5,000 - Ronford-Baker Standard Tripod (Brand New) = $1,875 - Ronford-Baker Baby Tripod (Brand New) = $1,875 - Ronford-Baker Ground Spreader (Brand New) = $600 - Ronford-Baker Off-Ground Spreader (Brand New) = $700 - Ronford-Baker Rolling Spreader (Brand New) = $1,300 - Sachtler 7+7 Studio II Fluid Head = $7,000 - Sachtler Dutch Head = $1,200 - Tango Swing Head (Brand New) = $6,000 - Weaver Steadman 3-Axis Model Head = $6,500 ______________________________________________ Jeff Roberts West Coast Cine Video, Inc. 5739 Kanan Road #307 Agoura Hills, CA 91301 818-742-8090 sales@westcoastcinevideo.com westcoastcinevideo.com

Selling Arri Alexa Plus Camera with 16x9 sensor ProRes +; DNxHD+; 120 High Speed Licenses Operating hours: 1577 (as of 07/13/17) Year of manufacture 2013 Current Firmware is 11.131779 Comes with Innerspace Case for ALEXA Body with Accessories Asking $35,000 (USD) ​Is interested please e-mail to Skrypka.anna@gmail.com Thank you.

AKELA CAMERA CRANE FOR SALE (INTERNATIONAL SALE ONLY) The 85' Akela Crane can go from ground level to six stories high in a single move, or follow a subject over broken ground for up to 170' without track or cables. It is lightweight and can be broken down into highly portable elements, enabling assembly in remote locations. The crane can be built at 45', 58', 72', or 85'. AKELA CAMERA CRANE - $55,000.00 (US/FOBUSA) *Pre-owned and in good condition

Looking for a solution - need a rotating lighting rig to simulate the movement of light on a stationary vehicle. Trying to simulate a train passing through darkness and shade. Any suggestion other than having someone Hollywood the unit or flag.

Looking for some exposure help when shooting moody scenes with the FS5 - I have seen a lot of people recommending setting the zebra to 70 percent ( which makes things pretty bright on the monitor for a darker scene/ is this something people only do in LOG? ) are there any other usable on camera exposure tool other than zebra?. Don't use Sony's much and am more used to Using a REC 709 LUT or false colors within my ALEXA eyepiece to expose. Also, should I be switching from LOG3 to cine gamma for lower light situations? Also any general tips for exposing low light scenes without crushing the blacks?

Hello everyone, I am a 3rd year film student studying Cinematography. The dream is to one day be a DOP for Film and Documentary, however, first I want to work my way up through the ranks of the camera department. I have undergone a number of weeks of work experience as a shadow camera trainee on 2 British TV shows. I was wondering if anyone has any advice on how to get work as a camera trainee in the UK? Or perhaps can offer me any work/work experience over summer as a trainee? Cheers! Josh Montoro

Aaton XTR Prod S16mm Camera Package All components have just been serviced and in great working order. From rental inventory and has been regularly maintained for the life of the camera. I have 2 comparable packages available. Package Includes: Aaton XTR Prod S16mm Camera Body VR46 Color Video Assist 1.78 Ground Glass Standard Viewfinder (short) Heated Eyecup Extension Finder Carry Handle w/ 2 Aaton Tools Right Side Grip w/ Start/stop 15mm LWS Right Ride Rosette Dual Rosette Grip Extension Arri 15mm Studio Baseplate 2x 6" 15mm Screw Type Mini Rods (not pictured) 2x Coiled Eyecup Heater Cables 8" 2pin to 2pin Start/stop Cable (not pictured) Mag Port Cover Lens Port Cover 3x 400' XTR Magazines w/ Throat Cover Flight Case For Camera Body (ATA Style) Flight Case For Magazines (ATA Style) $3895 I have On-Board batteries and chargers available upon request (fresh re-cell at time of sale). NP-1 style battery adapters that allow use of modern NP Li-Ion batteries as on-boards. Additional 400' and 800' magazines. Large selection of high quality used S16mm Primes and Zooms. Please PM with questions. Located in Hollywood, CA. I am happy to demo the camera in person. Willing to ship at purchasers expense.

INTERNATIONAL CINEMATOGRAPHERS GUILD TO HOST THREE PANELS AT NAB SHOW (April 24-25) GAME Of THRONES: Behind the Scenes with the Filmmakers GHOST IN THE SHELL: Creating a Cyber Future NEXT GENERATION IMAGE MAKING – Taking Content Creation to New Places The panels, hosted by the The International Cinematographers Guild (IATSE, ICG Local 600), at the NAB Show (April 22 – 27,) will examine advanced and future imaging techniques, including the use of machine intelligence in pre and post production. The discussions will be set within the context of high profile, consumer content including Game of Thrones and Ghost in the Shell. All sessions will take place at the Las Vegas Convention Center. Monday, April 24, 1:00 PM, Ghost in the Shell: Creating a Parallel Cyber Future, produced in collaboration with the ICG Location: South Hall Upper Room S220 Ghost in the Shell is a sci-fi thriller about cyber-enhanced soldier, Major (Scarlett Johansson), her battles against hacker terrorists and her hunt for her stolen identity and its perpetrators. Combining artistry with cutting edge innovation, the filmmakers designed unique tools and systems, including an original, anime inspired 28-color palette; custom LED lights; a video-photogrammetry rig for 3D video inserts; and a DCI P3 workflow from camera through color finishing and deliverables. See clips and hear stories about the making of this visually groundbreaking motion picture based on the original Japanese manga. Panelists: Jess Hall, BSC, Director of Photography (Transcendence, Brideshead Revisited, Hot Fuzz) John Dykstra, Visual Effects Designer (Oscar Winner: Spider-Man 2, Star Wars, Emmy Winner: Battlestar Galactica) Michael Hatzer, DI Colorist, Technicolor Justin Wagman, Post Production Supervisor Moderator: David Geffner, Executive Editor of ICG Magazine Monday, April 24, 2:30 PM Game of Thrones: Behind the Scenes with the Filmmakers South Hall Upper Room S220 With its spectacular battles, dragons, reverberating hugs, and death winnowing storylines, season 6 of Game of Thrones ratcheted up the tension and raised anticipation for an eventual, epic series conclusion. The season was shot simultaneously by director/ cinematographer pairs rotating between stage and location (as is the custom), spotlighted a cast of hundreds and featured nearly 1900 visual effects shots. Learn how the filmmakers applied the Game of Thrones naturalistic lighting style to new locations and storylines, how they chose to block and edit the emotional turning points, and how they harnessed postproduction to visually unify the footage. See some great footage and understand why, in 2016, Game of Thrones drew an amazing 25.1 million viewers across all major platforms. Panelists: Bernadette Caulfield, Executive Producer Greg Spence, Producer Anette Haellmigk, Director of Photography (Emmy Nominee: Game of Thrones) Jonathan Freeman, Director of Photography (Emmy Winner: Board Walk Empire, Emmy Nominee: Game of Thrones) Moderator: David Geffner, Executive Editor of ICG Magazine Tuesday, April 25 10:30 – 11:30 a.m. Next Generation Image Making – Taking Content Creation to New Places North Hall. Room 251 Light field, volumetric capture, computational photography, real-time rendering, and generative imaging have the potential to transform image making for all forms of content. Already, they are contributing to the blurring lines between live action and computer-generated imaging, and between what takes place in preproduction, production and post. What is science behind these new technologies and how do they work? What are their current limitations and promise? Glimpse what NAB’s Central and South Hall could look like in five to ten years… Panelists: Andrew Shulkind, Director of Photography (Clients include: Paramount, DreamWorks, Sony Pictures, Apple, Adidas, AT&T, Budweiser, Google, Old Spice and Samsung.) Jon Karafin, CEO Light Field Lab. Inc. Gavin Miller, Head of Adobe Research. Steve Sullivan, General Manager, Holographic Imaging Microsoft Moderator: Michael Chambliss, technologist and business representative for the ICG, IATSE Local 600

Anyone have any fun in-camera ideas for shooting a dream sequence? So far I've got, tilt/shift, unseat/reseat the lens, and for filters I was thinking of playing with the glimmerglass, promist, soft FXs, etc.) Any other ideas? Anyone use any glass elements in front of the lens (with or without abrasions on it) that they like? Thanks! Best, Andrew

Hi everyone, i want to sale some equipments: BlackMagic Desing Production 4k EF mount like new + SSD 512 + Davini Resolve Dongle ----- $2900 Black Magic Monitor Video Assist 5 '' HDMI SDI MONITOR & SDHC RECORDER ----- $400 2 X Nikon to Canon Eos Adapter (redrockmicro) new -----$100 Metabones E-mount to Nikon F new ----- $300 For more: up-agency@mail.com Thanks Julia

$750 Or Best Offer. If you own an Arri 3C and want to shoot anamorphic, this is something you'll want. You can shoot spherical, or flip a switch and the optics will desqueeze the anamorphic image so you don't have to frame up your image with everyone looking skinny. A very rare door, unique to the 3C, so certainly nice to have if you ever want to shoot anamorphic on this camera. Thanks, Rich

Minimal Camera gear 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 learn 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 you have my top 3... More info here Camaleon Cinema Services S.L - Fabio Giolitti.

Rare chance to own a complete Arri SR3 Advanced camera package just serviced and regularly maintained by Clairmont Camera. Includes premium IVS video assist. Package Includes: Arriflex SR3 Advanced S16mm PL Mount Camera Body S/N: 4070 1.78/1.33 Combo Ground Glass Arri 30mm Eyepiece Arri Heated Eyecup Arri FE-4 Extension Eyepiece S/N: 1007 Arri Eyepiece Leveling Rod S/N: 1072 Arri IVS S/N: 5079 Arri BP-7 S/N: 5929 Arri 12" Dovetail S/N: 5079 Arri DC/DC2 Box S/N: 1434 Arri Right Side Grip w/ Start/Stop S/N: 340 Arri "Piggyback" On-board Battery Adapter S/N: 9615 Arri 15mm Clip-on Mini Rods Mag Port Cover Lens Port Cover 2qty. 24v Y Cable (Camera Power) 12" 24v 3pin to 3pin Cable (Eyepiece Heater) Backup Fuse For Camera 3qty. Arri 400' SR3 Magazine S/N: 3130, 1564, 2102 3qty. 400' SR3 Magazine Throat Cover Custom flight Case For Camera Body Flight Case For 2qty. 400' Magazines Full SR3 Package - $4,695 Also Available: On-Board SR3 Batteries (New re-cell at time of purchase) $295/ech - 3x Available 24v SR3 Battery Charger (Built Into Case) $250 Located in Hollywood, CA. Happy to demo the camera in person. Willing to ship at purchasers expense.

Selling my Arri Amira camera package. It is fully licensed with 4K UHD, and is in great condition. Id like to sell everything as a package if possible, but also willing to split it up where there is a separate price indicated. Please PM or email me if your interested in this package, or want specific details regarding anything. Leo(at)PhotekFilms,com $50,000 for the complete package. Located in Los Angeles,CA. Pick up or buyer pays shipping. Cheers Priced individually: $45k ARRI AMIRA Premium License 4K/High Speed K0.0001091 PL LDS Lens Mount K2.0001107 V-lock Battery Adapter K2.75002.0 Wedge Plate WPA-1 K2.75000.0 Quick Release QRP-1 K2.0000399 Shoulder Belt SBA-1 K2.0001223 BPA-3 Bridge Plate Adapter for BP9/8 K2.75006.0 AMIRA Power to 2LEMO short cable AMIRA Lens Mount Port Cover AMIRA Tools and Audio Port Covers AMIRA VFA Viewfinder Adaptor 0.9mm Screwdriver Shoulder Belt SBA-1 K2.0001223 Camrade Wetsuit for Amira 2709.0353 Microphone Bracket for Amira DSA-0001 AMIRA Camera Case K2.0001239 ATA Amira Case $1000 Arri BP-8 Bridgeplate Arri Baseplate 12" $2.5k 4 x SanDisk 128GB Extreme PRO CFast 2.0 Memory Card $2k 4 x IDX DUO-150Wh V-Mount Batteries IDX 4-Channel Endura Charger VL-4SI $600 Arri MMB-1 Mini Mattebox Set Arri Top Flag for MB-20 System II Mattebox K2.47740.0 $1500 Arri MFF-2 Follow Focus K2.65255.0 $2000 Teradek Bolt Pro 300 3G-SDI/HDMI Video Receiver/Transceiver Set Teradek Dual-V-Mount Battery Plate for Bolt Pro 300/600/2000 Receivers

Selling my Arri Amira camera package. It is fully licensed with 4K UHD, and is in great condition. Id like to sell everything as a package if possible, but also willing to split it up where there is a separate price indicated. Please PM or email me if your interested in this package, or want specific details regarding anything. Leo(at)PhotekFilms,com $50,000 for the complete package. Located in Los Angeles,CA. Pick up or buyer pays shipping. Cheers Priced individually: $45k ARRI AMIRA Premium License 4K/High Speed K0.0001091 PL LDS Lens Mount K2.0001107 V-lock Battery Adapter K2.75002.0 Wedge Plate WPA-1 K2.75000.0 Quick Release QRP-1 K2.0000399 Shoulder Belt SBA-1 K2.0001223 BPA-3 Bridge Plate Adapter for BP9/8 K2.75006.0 AMIRA Power to 2LEMO short cable AMIRA Lens Mount Port Cover AMIRA Tools and Audio Port Covers AMIRA VFA Viewfinder Adaptor 0.9mm Screwdriver Shoulder Belt SBA-1 K2.0001223 Camrade Wetsuit for Amira 2709.0353 Microphone Bracket for Amira DSA-0001 AMIRA Camera Case K2.0001239 ATA Amira Case $1000 Arri BP-8 Bridgeplate Arri Baseplate 12" $2.5k 4 x SanDisk 128GB Extreme PRO CFast 2.0 Memory Card $2k 4 x IDX DUO-150Wh V-Mount Batteries IDX 4-Channel Endura Charger VL-4SI $600 Arri MMB-1 Mini Mattebox Set Arri Top Flag for MB-20 System II Mattebox K2.47740.0 $1500 Arri MFF-2 Follow Focus K2.65255.0 $2000 Teradek Bolt Pro 300 3G-SDI/HDMI Video Receiver/Transceiver Set Teradek Dual-V-Mount Battery Plate for Bolt Pro 300/600/2000 Receivers