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Found 10 results

  1. Hey guys, I am very interested in entering the world of underwater camera work. I did the whole film school thing and have been working as a camera assistant in LA for 3 years now. I am SCUBA certified and I love the ocean, I actually grew up in Hawaii so I really feel more comfortable in the water than out of it! I have been trying to find a way into the underwater industry for a few months ever since I worked on a shoot that had its own underwater unit. So fascinating! I was wondering if anyone could give me some advice on where to start? I am planning on going into Hydroflex this weekend to chat with some people there. I have also been contemplating selling my 7D and buying a 5D with an underwater housing...thoughts? Do 5D housings get rented very often? I figure a good way to get hired might be to own some equipment? I also don't have any marketable underwater footage of my own, and I would like to put a reel together to help gain exposure. Any help would be great. Thanks!
  2. 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
  3. Hello all, I am doing cinematography for a friend's film, and I was contacted by a local camera operator who was interested in working on our set. Coming from sets with a minimal crew, I'm used to operating a camera by myself when doing cinematography, so this is going to be a first time thing for me. As I'm new to this process, I wonder -- how does the relationship between a DP and a camera op go? I understand DP's will sometimes take the camera to get the shot they want, and therefore trade off with the camera op on-set, but my question is directed more towards pre-production meetings and such. For instance, are there any meetings that are meant to take place between a DP and his operator prior to arriving on-set? And if so, what exactly gets talked over? As a side note, I have yet to meet this local camera op in person. Thanks, John
  4. Yesterday I came across a focus pulller operator workshop class which will be held here in Italy, starting next February. The class will have a duration of two (2) weekends, so I guess about 8 hours per day for two consecutive week ends, 4 days totally. I haven't had access to the detailed schedule yet but I assume, comparing to similar Labs they provide, that it won't be two full days: so may be the first day (say on saturday) you will get 8 hours and the second one maybe something less. It will be pretty much intense anyway, I guess. Now, I don't want to attach a link to this school because they didn't act very professionally so far, based on a e-mail exchange we had yesterday, so I don't want to provide any sort of publicity to what they do. But I was wondering: is a kind of class like this one really helpful? I mean, of course learning always is, and especially learning from working professionals and by the aid of professional gear, but how much can you really learn from a 4-days class? Especially assuming that you won't be doing focus pulling from the very beginning, but you will probably be introduced with the different kind of cameras and the kind of gear you will be using, during the first hours. And then take into account that you won't be alone: some other students will be there with you and you'll probably have to take turns to operate the camera, and so on. So I guess that by the end of the course you will have a basic operative knowledge of focus pulling, a few hours of field experience (if you're lucky), but I definitely guess you won't be absolutely "ready for work", not even for a small short with friends!! May be youl'll be able to recognise a real follow focus when you see one on the set: that's more likely. Now of course I am a bit exaggerating here, but I really don't like this way of doing business, which is very common in the educational field here in Italy: aware of the huge appeal that some areas or activities may bear, some kind of people tend to give very little for a very high price, and usually to naif and passionate young girls and boys who would like to learn more or, in most cases, learn a profession for their futures. I am not saying there's a scam going on: of course you can always ask for information before applying for a class, and it is your duty indeed to do so, so that you know what you are paying for, but the information they provide is not always clear, not from the beginning at least. (the description they provide for the course on their internet page is very vague, and smells like the usual "resumé-upsizing kind of language") And, most importantly, what you pay for is definitely overpriced for the kind and quantity of training you get, in my opinion. Professional education and training is a very strong business here, and what you get is not always worth what you pay for, especially if you consider that, partly due to a peculiar job situation, partly to a typical italian mindset, the very same people who train you (which are usually working professionals), don't really care about being helpful to introduce you to the job, usually because this may conflict with their own interests. I guess it's not the same in United States, probably because that kind of harsh competition for work that we are experiencing now in the last five-ten years, you already had quite some years ago. Italy is a very cinical country at the present time. Some time ago I was listening to an interview to comedian Steve Kaplan for Film Courage (YT channel) and it struck me when, demanded to provide some advice to beginner writers, he finally said: ".. and then you can alway ask. I mean here in Los Angeles people are happy if they can help other people." WHAT???? That's completely impossible for Italy. There's a really strange approach to these matters in this country. A discussion board like this one for example, where trained and working professionals will answer your questions or curiosities, actually advancing your expertise and knowledge on the job, is quite inconceivable. And there is none in fact. Anyway, let me go back to the topic now. what I want to ask is: - except that I will be training on professional gear, - except that I will receive some kind of theoretical and technical background, will it really be helpful taking a short class like this one, if my ultimate goal is to actually learn to pull focus on the field, not just simply knowing how focus pulling works? I mean: let me say again I don't know the price of this specific course, but I can guess it will be between 500€ and 800€: can't I buy some decent gear for the same price and practice on my own? I know you can't buy a dslr AND a follow focus AND a good shoulder rig AND a good external display with that money, but a dear friend of mine already owns a good dslr camera and wants to learn shooting too. So I was thinking we could split the costs, buy some basic stuff on amazon and start practicing during week ends, taking turns alternatively: shooting and focus pulling. I know it's not the same as working with professional gear in a supervised milieu, where a teacher oversees your job and corrects your mistakes, but how much experience can you really get from a 4-day training? I guess focus pulling, as well as camera shooting, is mostly about experience, about practice. And by the way, I was reading some days ago a nice discussion on this board, which I cant find now, where an experienced assistant operator was explaining how the job is changing at the present time: how more and more you are asked to focus pull from the external monitor, sometimes disregarding or ignoring completely the marks you made for the actors, provided you had time to do that. And I can understand that: partly because, as he said, new directors don't even know these procedure and routines, partly because you don't always have much time, and partly because the nature of the shot may cause your marks to be completely useless (correct me if I am wrong). So this all tells me even more how much an extended practice is critical to this specific job.. What do you think, what's your opinion? thanks for reading
  5. Hi, I currently work on a home improvement reality show and we use the Panasonic HDX 900. I am curious to see if anyone on this forum has a piece of gear that he or she may use to help lighten the load on the back. I began shooting reality about a year ago and I am really starting to feel it in my back and shoulders. Any help would be appreciated!
  6. Bury St Edmunds, UK: Vinten®, part of Vitec Videocom, a Vitec Group company, is celebrating the twentieth anniversary of its renowned range of Vector pan and tilt heads. The seven pan and tilt heads that make up the range include the Vector 75, based on the ground breaking Vector 70 model, which camera operators rated so highly it quickly became the industry standard for both studio and OB applications. The family also incorporates the award winning Vector 430, the Vector 950 and Vector 750, which have received global praise for outstandingly smooth and responsive camera control. In two decades since the first Vector 700 was launched, the 'Vector Family' has been at the forefront of the industry and has become ubiquitous in studios across the world. The core capabilities at the heart of the Vector range includes Vinten's Perfect Balance technology, for effortless support, and the unique Thin Film drag, patented in several Vector models, bringing the appropriate camera control for every type of movement. Andrew Butler, Senior Product Manager, Vinten said: "It is a remarkable achievement to be celebrating twenty years since the launch of the first Vector head. The longevity is testament to the revolutionary design that continues to deliver value both in the studio and in the OB space. "For OB applications, the pantographic counterbalance mechanism has proved invaluable, as operators can counterbalance for different weight camera packages without changing out cams or using springs. This really simplifies and speeds set up, particularly at sports venues. Combined with the higher output drag modules, it provides excellent control for heavier payloads." The Vector brand has gained some high profile proponents over the years including director of photography, Tom Guilmette, who explained why the Vector range has proved so successful in sports broadcast, "Shooting unscripted live sports with fast action is a challenge. The number one piece of equipment in the camera chain is the pan and tilt head. The Vinten Vector series is buttery smooth and extremely responsive allowing me to track high speed objects with precision." US based NEP, operator of the world's largest fleet of television mobile units and global production studios uses the pan and tilt heads exclusively on its OB vans. George Hoover, CTO, NEP said, "All of the cameramen on remote sites are freelancers, working across a variety of different productions and mobile units. They rely on the Vinten Vector heads to help them consistently get their shots and from our perspective we like to give them the tools that they know will let them work at their optimum creativity." Another US outlet, Colorado Studios, also chooses the Vector range for its mobile truck fleet, having recognised the value of good camera support from its extensive experience in a wide variety of sports remote pick up. Philip Garvin, Founder and General Manager of Mobile TV at Colorado Studios said, "We currently have more than 200 Vector pan and tilt heads. In the mobile truck business, we've got to invest in heads that are able to perform and stand up to heavy use, but also ones that our users like, and all sports camera operators are happy when they see the Vector heads." In studio applications, recent installations of the Vector range includes the state of the art studios for BT Sport in the UK, where several Vector 750 heads were selected to support the broadcaster's fast growing live programming. For many years, the British commercial broadcasting giant ITV has also used Vinten Vector heads as part of its extensive range of Vitec Videocom equipment installed across the London Studios. Chris Owen, Head of Cameras and Sound at ITV Studios has worked across a broad cross-section of programming ranging from light entertainment shows such as the An Audience With... series to live Champions League football. Owen explained the success behind the Vinten Vector range, "The guys at Vinten really respond and listen to feedback. For instance, with the Vector 750 heads they made some minor adjustments so they would exactly meet our needs. At the end of the day, they have been designed by people who really understand what camera operators want." Andrew Butler, Senior Product Manager, Vinten said, "The durability of the Vector range stands testament to the quality of the design and the engineering. There are a number of studios that still have the original models daily use two decades on. The range has been future-proofed with the introduction of the 'i' versions of the 430, 750 and 950, providing an extremely high quality, highly accurate encoder output for Virtual Reality and Augmented Reality applications. The success of the heads has been built on innovation and like all of our products, this will certainly continue for the long term. We are committed to providing the highest performing supports that meet the future needs of the industry and we fully intend for Vinten to remain the heads of choice for the next twenty years."
  7. Im shooting a short film this weekend and the director wants a shot of a man shovelling dirt off the "lens" to reveal the himself standing over a hole in the ground in the forest. a Very classic Breaking Bad shot. Would love any advice as to how I should accomplish this... I've rented a Wide angle low angle Prism for the shot and I'm planning on buying a big sheet of plexi glass to put over the camera and cover with dirt. Any ideas (besides digging a massive hole in the ground) Thanks, Cole
  8. 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
  9. looking for a camera operator to shoot a web tv series january 8, 9 and 10 in the Lake Charles, Louisiana area (12 hours each day). Shooting on 5D's, all equipment will be provided. Very run and gun style. email me for more info: dp at davidpatino . com
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