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EnsGDT posted:Note to self, try and convince one of the first year students that the RAID we dump footage to must be in the dark or else they'll expose what we shot.
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Feb 12, 2012 17:02
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Question for all you guys out there. I have a glidecam 4000 and my business partner is contemplating on investing in a vest and an arm for it. This is not so much because we use it all the time, but because of the possibility of renting it out. How many of you have went out and rented a glidecam before or did not rent because it did not have a vest + arm? I understand it helps, but I'm wondering if it will even be worth it. I'm not sure the demand for it would be very high. I live in MN by the way.
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Feb 13, 2012 02:46
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How often do you rent it out now? How many calls do you get about it? If you're getting a lot of calls but not renting it then it's probably worth kitting out but if you're not getting a lot of interest then it probably wont help much.
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Feb 13, 2012 07:36
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chimheil posted:Question for all you guys out there. I have a glidecam 4000 and my business partner is contemplating on investing in a vest and an arm for it. This is not so much because we use it all the time, but because of the possibility of renting it out. How many of you have went out and rented a glidecam before or did not rent because it did not have a vest + arm? We have one at the rental house I work at in Hollywood and it only goes out once every 6 weeks or so, I wouldn't call that a solid investment at this point.
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Feb 13, 2012 08:00
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A Steadicam-related question: I'm about to get a Steadicam Pilot setup a couple months from now as an early graduation present from my parents (and a congratulations for setting up an on-campus Steadicam workshop) and I was wondering if anybody had any advice for a wireless follow focus system. So far I've mostly worked with dSLRs and HVXs, if that helps. I'm looking at a Jag35 WEFF, which seems great since it's so cheap (though I hear it's pretty noisy), but it's not currently available and won't be for God only knows how long. I don't know that I really want to try operating on any shoots (even student film shoots) if I have to try to rig up a laptop and EOS utilities for an AC anytime I use it until Jag35 finally puts out more of those things. I've also looked at the Hocus Focus, which seems to get decent reviews but it says it's not approved by the FCC for use in the US and is also significantly more expensive, and the RTMotion Pro-Mk.2.5 which I hear lots of great things about, but is also expensive as hell. Basically, what would you guys suggest? Are there some good wireless systems I don't know about yet? Should I just hold out for the Jag? Should I bite the bullet and get the RTMotion?
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Feb 20, 2012 07:13
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EOS utilities is pretty awful for pulling focus, I don't think it's worth the headache. The only wireless follow focus I've ever used was a VariZoom one on a RED One, and even at $5k it was sometimes a bit laggy in the response time.
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Feb 20, 2012 07:21
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Bartech, it's what most of the pros use from what I've observed. http://www.bartechengineering.com/
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Feb 20, 2012 07:40
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SquareDog posted:Bartech, it's what most of the pros use from what I've observed. I got the impression that a Bartech or a Preston would be a bit big for the Pilot/dSLRs. Am I wrong about that? Also EOS Utilities is definitely poo poo for pulling focus, that's why I want to avoid it as much as possible. I'm reading that redrockmicro was going to release a wireless follow focus last year, but I can't see anything but announcements and an entry in their store with no links to buy it. Is that a dead end or has anybody heard anything about it? (also thank you guys for your help!)
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Feb 20, 2012 08:13
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(At this point at least) If you want a camera to perform like a big rig then you have to make it a big rig. That's the problem with DSLR's because in order to make them truly cinema-worthy you have to slap so much stuff on them that you might as well have bought a real cinema camera. Not to knock your purchase, I own a t2i, just saying that you can't squeeze blood from a turnip.
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Feb 21, 2012 03:16
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I'm kind of shocked that nobody can seem to come up with a good wireless rig that interfaces with the EOS lenses - the only ones I've seen are unusably laggy, and you would think that a hardware controller should be able to give you pinpoint precision with an electronic lens. The best rigs are still ones that are basically a remote controlled gear on a traditional follow focus, still requiring a full support setup.
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Feb 21, 2012 03:31
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SquareDog posted:(At this point at least) If you want a camera to perform like a big rig then you have to make it a big rig. That's the problem with DSLR's because in order to make them truly cinema-worthy you have to slap so much stuff on them that you might as well have bought a real cinema camera. Not to knock your purchase, I own a t2i, just saying that you can't squeeze blood from a turnip. I'm definitely not opposed to a bigger follow focus and especially don't want to be limited to dSLRs, I mostly wasn't sure if they were too big for the Pilot in terms of weight. I'm actually hoping to be do some stuff next year with a Red Scarlet on some school projects, so if the Pilot can handle that and a Bartech I'm all for it. I just want to make sure I don't have any more suitable options before I spring for the Bartech and M-One.
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Feb 21, 2012 08:23
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Something like a bartech is a good investment because it works on all cinema cameras for years and years from camera to camera, an EOS wireless follow focus, not so much. However I should warn that it can be difficult to mount to the lens without some very sturdy support on the DSLR itself, what with it having only one single 1/4 20 screw hole in the bottom. Putting it in one of those cages or some kind of rod support that will stop it from rotating at all will work. A cage like this: http://nofilmschool.com/2010/06/viewfactors-contineo-powered-cage-for-canon-dslrs/
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Feb 21, 2012 09:47
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SquareDog posted:Something like a bartech is a good investment because it works on all cinema cameras for years and years from camera to camera, an EOS wireless follow focus, not so much. However I should warn that it can be difficult to mount to the lens without some very sturdy support on the DSLR itself, what with it having only one single 1/4 20 screw hole in the bottom. Putting it in one of those cages or some kind of rod support that will stop it from rotating at all will work. A cage like this: I've got the 15mm rails that I was planning on using no matter what, so I guess this is the way to go. Thanks so much for your help! 
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Feb 21, 2012 19:00
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So I do video journalism for the air force. I just recently joined an office with only a couple other broadcasters. We're all new to the career field, as this office just had a huge turnover in broadcasters. We're looking to set up a weekly greenscreen newscast. Where do you guys go for greenscreen backgrounds?
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Feb 24, 2012 16:55
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The best option for a set would be to paint the walls. There are two specific paint colors: Chroma Green and Digi Green. Chroma green is less reflective on to people and objects but it's a little more difficult to key. Digi green is easier to key out but it's more reflective, casting green light on the actors more readily. Distance from actors and object to the screen is the main factor. If they're closer to the green screen, get chroma green. http://www.filmtools.com/chromkeygree.html EDIT: BTW I was in the Air Force some years back too, considered doing this, but decided I'd rather get out of the Air Force. SquareDog fucked around with this message at 08:48 on Feb 25, 2012 |
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Feb 25, 2012 08:46
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Just wrapped day one on my fifth feature as DP! Terribly excited with where we're going with this. Next stop is two weeks on Cyprus, we have a bunch of cool stuff planned including a rather large crane/Steadicam step-off shot for the opening sequence and probably a five minute oner, also on Steadicam. I am simply tickled pink to be shooting a movie that does not involve any kind of Santa
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Feb 25, 2012 22:26
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No Swarte Piet!?
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Feb 25, 2012 22:41
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SquareDog posted:No Swarte Piet!?
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Feb 25, 2012 23:00
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I'm totally jealous Steadiman. As a Greek and a filmmaker, I'd love to come work that with you
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Feb 26, 2012 00:04
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SquareDog posted:The best option for a set would be to paint the walls. There are two specific paint colors: Chroma Green and Digi Green. Chroma green is less reflective on to people and objects but it's a little more difficult to key. Digi green is easier to key out but it's more reflective, casting green light on the actors more readily. Distance from actors and object to the screen is the main factor. If they're closer to the green screen, get chroma green. What about a full body key?
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Feb 26, 2012 11:37
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EnsGDT posted:I'm totally jealous Steadiman. As a Greek and a filmmaker, I'd love to come work that with you  . We'll be shooting all over the drat place!
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Feb 26, 2012 18:11
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EnsGDT posted:I'm totally jealous Steadiman. As a Greek and a filmmaker, I'd love to come work that with you Be careful, he's a screamer and will steal your woman.
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Feb 26, 2012 19:02
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GravyWPG posted:What about a full body key? Not sure what you mean.
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Feb 26, 2012 22:34
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I think he means keying a shot where you see the actor's entire body. Not sure why that makes a difference - if there's not enough greenscreen you could always shoot with a wider angle lens instead of loving around with the size of the screen or relative distances between the screen, actor, and camera.
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Feb 26, 2012 22:59
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Steadiman posted:Well if you're on/in Cyprus anywhere from next Wednesday until March 12th, you're welcome to drop by and carry crap for us Well, I live in Florida, and I'm in production. I'm not sure which of the two is the bigger hang up? Tiresias posted:Be careful, he's a screamer and will steal your woman. I'm in film school. There are certainly not women.
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Feb 27, 2012 00:19
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EnsGDT posted:I'm in film school. There are certainly not women. Full Sail, huh?
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Feb 27, 2012 00:26
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Tiresias posted:Full Sail, huh? Florida State but I've been on set 6 out of the last 7 days of each week for the past two months straight haha On another note, what is everyones pick for best cine at the Oscars tonight? EnsGDT fucked around with this message at 00:40 on Feb 27, 2012 |
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Feb 27, 2012 00:38
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EnsGDT posted:Florida State but I've been on set 6 out of the last 7 days of each week for the past two months straight haha If you can't get laid with a Florida girl, don't worry... there's something very RIGHT with you, and they detect you're not a poo poo. Good luck, and leave ASAP.
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Feb 27, 2012 02:40
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EnsGDT posted:Well, I live in Florida, and I'm in production. I'm not sure which of the two is the bigger hang up? Tiresias posted:Be careful, he's a screamer and will steal your woman. No comment on the woman bit...
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Feb 27, 2012 19:10
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Steadiman posted:One time that happened! ONE GODDAMN TIME rear end in a top hat!!! PLEASE DON'T HIT ME PLEASE GOD I'M SORRY NEVER SORRY OH GOD
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Feb 27, 2012 19:16
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Tiresias posted:PLEASE DON'T HIT ME PLEASE GOD I'M SORRY NEVER SORRY OH GOD Gotta watch out, he's got that steadicam operator strength.
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Feb 27, 2012 20:54
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EnsGDT posted:Gotta watch out, he's got that steadicam operator strength. Very good at standing around and being a wiseass?
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Feb 27, 2012 22:57
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ogopogo posted:Very good at standing around and being a wiseass? All while wearing these: 
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Feb 27, 2012 23:35
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You two smart-asses realize Steadicam operators pretty much all know each other through some degree and there's one probably very close to you, and your family, right now. We are all connected by a single call. Just saying :-/ Also...awesome pants!
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Feb 27, 2012 23:59
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ogopogo posted:Very good at standing around and being a wiseass? HEY!... we can drink a lot too.
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Feb 28, 2012 04:06
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Any cinematographers travel overseas a lot? I'm doing second unit camera work for a mini-series on Roman archaeology this summer in Italy and I'll be bringing my gear with me (to be clear, I'm traveling from the US to Italy). My main camera stuff I've managed to fit into a carry-on sized Pelican case. Does anyone have any recommendations for me? How difficult is it getting through customs with this stuff? Should I prepare myself for a hassle? I haven't traveled overseas since pre-9/11 so I don't know what to expect in terms of changes.
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Feb 28, 2012 17:31
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Steadiman posted:You two smart-asses realize Steadicam operators pretty much all know each other through some degree and there's one probably very close to you, and your family, right now. We are all connected by a single call. Just saying :-/ Starling knows he's good at standing around, and Fletcher will tell you about how good he is at standing around, haha! And Tiresias, are you still based in Vegas or did I dream that from NAB last year? Either way, we should go drinking. ogopogo fucked around with this message at 19:09 on Feb 28, 2012 |
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Feb 28, 2012 18:53
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Marxist Glue posted:Any cinematographers travel overseas a lot? Not bad travelling with gear. Make sure you can turn stuff on when they ask. Normally though they just do the swab thing on it and run it through. Canada to US can sometimes be tricky as border guards will sometimes arbitrarily turn back members of a crew because they will be working in the US. Taking jobs from Americans you know. I've known of 3 person crews going down and having the director rejected, or the sound guy. Completely arbitrary.
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Feb 28, 2012 19:41
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Marxist Glue posted:Any cinematographers travel overseas a lot? Make sure you know exactly what is in your kit and you are able to explain the functions of the more esoteric gear. I like to carry brochures for that purpose. Depending on where you fly into Italy, the English at the airport might be bad (this happens even on big international airports there) so this makes brochures even more handy to explain stuff. You won't be hassled any more than a regular passenger so you should be just fine. I am assuming you have proper visas to work in Italy? Also bring a few books...it's a long flight ogopogo posted:Starling knows he's good at standing around, and Fletcher will tell you about how good he is at standing around, haha!
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Feb 29, 2012 00:13
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I travelled to Ireland for a shoot and have taken my HVX in Pelican case with me many times, no problems. One time I was asked to turn on the camera, but that was it. They checked my person a little more closely, but that was it. Mostly they have me open the case, nod and give me the go-ahead. They're checking you out more than the gear, if you're calm and cool and whatever about it then they don't care.
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Feb 29, 2012 00:22
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