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Found 27 results

  1. Hey all... I'm shooting a film and we have a few scenes that incorporate a taser being used as a weapon in the story. I'm shooting with a Panasonic EVA1, not sure if there are any in camera solutions to avoid stroboscopic issues...? I would love to maybe see the taser in close up at least being triggered. If not, then maybe I can stage the action for the taser to be triggered hidden from camera, in that case what lighting gags can I do to sell as a taser? My gaffer suggested 2 things for off screen gags... using those small finger glove lights used at raves and/or getting blue maybe even purple coloured bracelet beads from a hobby shop and having them shift around over a flashlight. Is there a better alternative for creating a compact and caustic lighting effect?
  2. Hey All, I have an upcoming shoot that is going to require quite a bit of camera marks (Jib moves back and forth, Sticks move in and out, etc...). Would anyone be able to recommend some decent marks that would work well with artificial turf (I think standard paper tape would peel easily). Anything like temp spray/chalk that I could buy local from Los Angeles (like EVS, Filmtools or Birns)? Any input on this topic would be highly appreciated. Thanks! Chad
  3. Hi, I'm Ben, a learning camera assistant who chose not to study film and is now catching up on production etiquette and techniques! I recently pulled focus on a short film for a great DoP (Tansy Simpson) here in London and at one point she asked me to push the iris to a 'two plus' Now i assumed this meant something like a t2.1, or did it mean 2.5? I'd love to get clarification on this as I was too worried she might think I was an amateur if i asked! Thanks in advance for any help offered, Benjamin
  4. Hi everyone! I have a few quick questions about running a Mole-Richardson 10kW Tener Solarspot (or really any other large fixture) from a 100A 120V service panel on the building mains. The panel has Cam Lock output and will be going into a 100A distro box like this: https://www.lighttheatrics.com/lex-100-amp-3-phase-motion-picture-box-with-tail-input-dbs100dt-b4bi2/?gclid=Cj0KCQiAzrTUBRCnARIsAL0mqcwbjlgWj2tBopApyjosTuHu4g6KpgcC221J8FoAubpZwbrsBvLRjOsaAlBMEALw_wcB I will need to power fixtures such as the Mole Tener and ARRI M90, which I assume we will be fitting with 100A bates connectors. My questions are: Does the power need to be balanced across all three phases, or is this only necessary on a generator and not from AC power? If it does require balancing, what adapter would be used? (100A - 2x 60A Snakebite would only connect on two legs, and I've never seen a 100A Bates - 3x 60A, besides the fact that it sounds like a dangerous and bad idea) I believe that if I run the lamp from one leg, or split between two with a 100A - 2x 60A Snakebite, that the neutral in theory could hold the excess load. I won't be able to run an acceptable ghost load along with the 10kW with the power I currently have. What are the negatives, if any, of doing this, and am I just completely wrong about that? Is it better/possible to get a single phase distro box and run only 4-wire from the 5 Cam Lock outputs on the service panel? I understand the basic concepts of balancing a load within 20% for each leg of 3-phase off a genny, but I am new to using 3-phase AC power from a building. Hope this isn't a stupid question, but I couldn't find a specific answer elsewhere. Am I worrying too much? Too little? Thank you guys in advance for your help & patience!
  5. 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.
  6. 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!
  7. 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!
  8. Hey everyone, Despite all the benefits of growing up in the digital age, I hate that I missed out on the era of film. What are a clapper/loaders particular duties on a set? What does one do for labeling spent reels? How are spent reels stored? Are reels loaded with film ahead of time? What are the dutyseparations between them and the ACs?
  9. I’m in New York from Sept 16 - 21 demonstrating a new AC / DIT cart which I've designed. I would like advice on where to show the cart to DITs and ACs in person! Any suggestions would be greatly appreciated. Bill Kerrigan Montreal, Quebec, Canada 514 486 8456 - Office 514 238 9775 - Mobile bill@kerrigan.ca http://www.kerrigan.ca
  10. As an AC or DTI what is the best way you manage your captured data? Are there any standards or protocols? Is there a key device that is must have for backing up data? I guess this bridges into on set workflow which I'm sure differs from set to set, but in general how does everyone handle this? It seems that the growing size of memory cards (and their falling prices) make shooting on fewer cards easier, but does any one run backups while on set? The last film shoot I did was on film, the last digital shoot I did was still in the land of 7D and 1080p which was decently manageable. I've been out of the loop a bit and I'm curious going forward how I can prepare for a more modern workflow. Thanks!, Zig
  11. Up for sale: Large Harrison Film Changing Bag - $90 - very good condition, there are a couple tiny spots where you may notice the reflective coating has come off (<1mm). Large Harrison Standby Camera Cover - $75 - great condition, only used literally a couple days. Perfect for 3D rigs or a Panaflex w/1000' mag $150 if you buy both I have 100% feedback on the DVXuser.com marketplace and have been a member there for 10 years. More AC gear coming soon (lemo cables, panavision brackets, magliner brackets, etc - ask for details to save $$$ shipping multiple items at once) Large Harrison Film Changing Bag: Large Harrison Standby Camera Cover:
  12. How do you hold your gaffer tape? Not using ToughGaff? Come visit us at the NAB, central hall, booth#C12636 Or check us out here, and buy online: www.toughgaff.com
  13. How do you hold your gaffer tape? Not using ToughGaff? Come visit us at the NAB, central hall, booth#C12636 Or check us out here, and buy online: www.toughgaff.com
  14. Hi everybody, I'm wondering if anybody has some advise on how an AC resume should look like. Should I put my education and formative experiences? Should I only put the filmography and only the more importants jobs or should I put students films too? Any other advise is more than welcome! Thanks in advance!
  15. Hi All, as it states in the topic, I've been struggling to figure out my way to go from commercial world to TV/Movie world and I need your advice! I've started to work on commercials as a PA about 6 years ago, went to a film school, and climbed up the ladder long enough to purchase AC gears and gadgetries and been getting mid-high range commercials as a 1st AC enough to make a living, but I always knew in the corner of my head that I wanted to go work on feature films or single camera TV shows. After digging through production gig websites and sending usual emails to the colleagues I know, I've realized all my contacts are mainly commercial and I really don't know anyone who works in a narrative filming world. I want to make a critical decision by this year, but I honestly don't know where to begin. I've even thought of starting from the bottom by abandoning all my AC gears and go work on narrative shows as a PA to climb up the ladder again. Ideally I would love to get a Camera PA position on features for starters, but I don't know where one can go and get positions like that. So please, the experts in cinematography.com, what are your advices? Any kind of guides would help. I deeply appreciate your comments.
  16. My first professional 2nd AC job is next weekend. I designed a camera report and I'm wondering what the DP wants on it. What is the standard process that a camera report is designed and is this one good? Noah Hellum
  17. My first professional 2nd AC job is next weekend. I designed a camera report and I'm wondering what the DP wants on it. What is the standard process that a camera report is designed and is this one good? Noah Hellum
  18. Hi everybody, I'm trying to really get the difference between RGB and YCbCR. The problem is that I cannot find a consistent answer to this question. From what I know they are both signals. I know that RGB is always a 4:4:4 signal while YCbCr can be subsapled in different ways. I also know that YCbCr is originated by the RGB because this last signak is redundant so (what does ut exactly mean?). I also would like to know the difference between a 4:4:4 RGB and a 4:4:4 YCbCr, don't they both have the maximum chroma and luminance sampling possible? Thanks so much!
  19. 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.
  20. Hello Everyone, I have been attempting to learn more about electrical/battery power and sound, but haven't been able to find the right online resources. I was wondering what an AC, whether 1st or 2nd, should know about sound and power? As of now, I know some basics on both topics, but am always looking to learn more in order to be better prepared. Thank You, Joseph Robinson
  21. Hello All, I'm currently looking to buy a new bag to use for all of my tools/equipment I carry around for Camera Assisting. I like the idea of multiple large pockets on the outside of the bag. Right now I haven't been carrying too much but I know I will be in the future, so I'd like to buy something that'd last. What bags/brands would you recommend? Thanks.
  22. Hello all, I've recently pulled the trigger on a camera cart as I have a shoot coming up where having one would be extremely helpful. Rather than go the route of a modified Magliner (for cost reasons at the moment) I found a great local deal on a brand new Rubbermaid 4546 cart with 8" pneumatic tires. I'm a DIY'er at heart. I love making something work for me through my own efforts. For the past few days I have been looking for a resouce as to what mods others have done with this kind of cart and I haven't find very much. I visited the Backstage Equipment site and found very few accessories for the Rubbermaid as compared to the Magliners. I understand that the Magliner and/or metal camera carts are much sturdier and modifications to these carts are not suited to my plastic cart unless I put a metal skeleton on it. Modifications I have considered are: carpeting the shelves, handle modification to make it shorter so it can fit in my car standing up, sliding drawer for tools under top shelf (which is an add on from Rubbermaid). What I'm looking for are any thoughts or experiences you all have had with these carts, any mods that are a must in your opinion or maybe even some specialty ones. Pictures would be helpful but any information I can get is awesome. Help me build the best DIY camera cart!
  23. 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
  24. I'm currently studying film at NYU with a concentration in cinematography. I am very serious and passionate about it but I'm just not sure how I go down the path. My end goal would be to be a feature and commercial DP and I understand that it will take time and I am ready to work my way up but how do I get there? Right now I'm just shooting/gaffing/AC projects for others at Tisch and looking for freelance jobs and fashion films. Should I be working to join the Local 600 union? If so, as what? 1st AC? Does anyone have tips on getting more jobs? Finally, does anyone have any advice as to what equipment I should get. Currently, I have a DSLR with lenses, a shoulder rig, follow focus, and an 8" monitor. Thanks a lot for your answers
  25. coming to houston for a music video shoot coming up on the 26th and 27th of this month (may). looking for a 2nd AC to help me out as im by myself as of now. looking like a clapper/loader situation. coming out of LA. shooting red Epic, panavision package, c-series anamorphics. Let me know!!! also could use a camera cart... stevetw103@gmail.com
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