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My Gear


Found 5 results

  1. Hello, Greetings to all. I am going to shoot a few long sequences for a narrative feature soon which is to be shot in a moving bus. The is to be shot in India where the roads are a mixed bag, some part is quite smooth and some a bit rough. Also we will be filming in an old bus whose shockers would not be in great condition. So it would be great to get few ideas around the ways in which we can accomplish some dialogue sequences in a moving bus with the best stability. Scenario 1 : A good tripod head supported by few sand bags but there will be some sensor roll off that might come in case of bumps. Is vibration isolator a good idea? Scenario 2 : Gimbal handheld or supported further by an easy rig. This seems the best option for me to try . Scenario 3: Steadycam seems like an ideal option but could be an issue when it comes to budgets etc. We would be filming this on a Red Helium with Ultra Prime lenses with a clip on matte box with some ND's. Importantly, to put the bus on a big trailer is not an option and also pulling the bus with a rope with the help another bus would be very tedious but could be considered. All suggestion on the best ways to accomplish this would be welcome. Any thoughts on help with the sync-sound would also be great. Warm regards, Shashank
  2. Hey everyone, I was wondering what methods you can do to create a rig where the camera is centered above a group of kids, and the camera begins to boom up and spin in a circle at the same time. I know a jib would help create the boom effect, but I'm having trouble imagining the tripod head attached and spinning around. I'm thinking I just do an extreme tilt on the ball head and loosen the pan and have it spin once we're about to shoot. I'm afraid, however, that the camera's battery might be in the way which may throw that idea out the window. Any thoughts or rigs that are decent in budget? The camera would be a RED Epic body with standard Zeiss Primes.
  3. As a DP, how do you communicate your orders to your team on set? (e.g. Light ratios, light modifications, rigging)
  4. Looking to buy the complete shoulder set and handle grips for the 435. Let me know!
  5. Good Day I am going into a three-day shoot for a student film as the cinematographer, essentially being the DOP of the shoot. I would like to get some input on what the essentials would be for a cinematographer to have on set - I am talking consumables to make the shooting process easier, not any kind of gear. Here is a list that I've made so far, please feel free to add to the list if there is anything useful that you have found. Gaffer gloves - for preventing barn doors and lights from burning your hand off gaffer tape - for, well, everything. plain markers - marking gear, making notes and for focus pulling Black wrap - that magic black stuff that wraps around any light to flag off spill light Washing pegs - for putting gels on lights dust-off - an absolute necessity deodorant - if someone marked the clapper board with a permanent marker, works well to get it off. Plus it's just convenient for everyone else if you don't smell like a hobo Maglite - taking focus, finding things in the dark Lens cleaning kit screw driver set Allen keys (also known as hex keys) multitool - the one with the toothpick, you never know when it might come in handy. Please add things that you may have found to be practical and helpful to getting things done easier on shoots.
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