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bassguitarhero posted: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.
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Feb 29, 2012 01:01
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Steadiman posted:Sometimes it's this easy. Sometimes it's really, really, not. Best to be overprepared than underprepared when dealing with customs and TSA and such. I don't know what he's shooting with but ofcourse an HVX wouldn't be a problem. Something bigger might be. First of all, thanks to everyone for responding. This has been really helpful. Luckily, I won't be carrying the main camera. They wanted me to just bring my HDSLR so I'm hoping it will be pretty easy to go through customs, etc. because it doesn't look unusual. I have about 4-5 lenses I'm bringing as well as some other various equipment. Bringing brochures is a good idea, thanks Steadiman. I may bring it for some of the more "unusual" equipment like my Xoom and some other stuff. Thanks again for all that info. I'm pretty excited!
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Feb 29, 2012 01:19
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exp0n fucked around with this message at 01:04 on Nov 30, 2014 |
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Feb 29, 2012 02:10
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Marxist Glue posted:First of all, thanks to everyone for responding. This has been really helpful. One of the cool things about going through with a lens is you can see it. I went through with a big 2/3 ENG zoom lens, and it looked awesome on the xray. No idea it was so complicated. Security thought it was kind of cool too, that's why I got a good look at it.
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Feb 29, 2012 07:09
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ogopogo posted:Starling knows he's good at standing around, and Fletcher will tell you about how good he is at standing around, haha! I'm based in LA, but I trip out to Vegas anytime work or leisure calls. I'll be back at NAB in April this year, fear not! Let's grab a drink then! Steadiman posted:Yes...now imagine either Starling, or scarier, Fletcher "standing around" outside your window at 4 in the morning...That's right! Fletcher will also tell you how poorly constructed your house is while standing around outside of it.
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Feb 29, 2012 19:04
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exponentory posted:what about tripods? I'm flying with one soon and am not sure if it will be carry on acceptable or not. It's not a large one, just a carbon fiber three-stage 75mm. If it'll fit in the bin, you should be fine. The director took his tripod (in my tripod bag, since it was bigger) when he flew to Ireland, he even put a Rifa light in there, too, and had no problems. I know they do make exceptions for large-ish equipment that's considered too "fragile" for checking. That worked out, too, since apparently all his checked luggage (the rest of our lights and some other equipment) all got sent to Australia for the duration of our shoot, so all we had was the gear we carried on. Luckily, the most important stuff. Shot the entire doc with one Rifa light, the other gear showed up at Shannon airport the day before we left. I forget who he flew with, I think it was United. They're poo poo anyway, never travel with them if you can avoid it. I had a fully-paid plane ticket to the UK to visit my mum when she was especially ill and, while I was at the airport, they boarded everybody but me and a couple others, the plane left, and when I went to the counter to blow up at somebody, they offered me a standby ticket in return. I lost 2 of the 10 days I had to spend with my mum because of United's bullshit, I have to consider myself "lucky" they even let me get on a plane at all. They also trashed everything I bought in customs, another $100 of gifts I'd planned on bringing. I'm flying next Wednesday with Virgin Atlantic, so hopefully that's a better experience. I'll be bringing my DSLR and lenses as well, but I only do carry-on so I'm not too worried about that.
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Feb 29, 2012 20:25
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Just got the email saying that my SOC Associate membership is up for vote at the next meeting! Pretty pumped about that.
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Mar 7, 2012 23:37
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ogopogo posted:Just got the email saying that my SOC Associate membership is up for vote at the next meeting! Pretty pumped about that. Is your check gonna clear? Yea, you're in.
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Mar 7, 2012 23:40
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Tiresias posted:Is your check gonna clear? Yea, you're in. They cashed that bad boy last week. EDIT: also, we're FB besties now.
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Mar 8, 2012 01:34
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ogopogo posted:They cashed that bad boy last week. Sweet. Now when I'm in Vegas at NAB, let's kidnap Steadiman, drug him and drop him somewhere exciting for him to wake up!
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Mar 8, 2012 04:43
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Tiresias posted:Sweet. Now when I'm in Vegas at NAB, let's kidnap Steadiman, drug him and drop him somewhere exciting for him to wake up! Middle of the Hoover Dam.
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Mar 9, 2012 13:57
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Wanted to post this, thought I did some good grading on the two girls in it. What did I learn with the gentleman? Don't position someone who is bald inside of a strong back light. (the sun in this case) http://vimeo.com/38453897 BeavisNuke fucked around with this message at 20:56 on Mar 13, 2012 |
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Mar 9, 2012 20:17
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Hey, Toronto goon here and had an inquiry that maybe one of you can help me with. I was wondering where is the most competitive/cheapest place to rent lights. I cannot secure any through my schools equipment room, so I have to look externally. I know people say Vistek is over priced, so I was wondering if anyone knew smaller places with affordable prices. In addition, we have no production insurance and wondering if that would deter our attempts, or is it still possible? Preferably we are looking for a Diva Kino Flo Kit (worked with them before and really like them). Any help would be appreciated
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Mar 13, 2012 17:44
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http://www.digitalbolex.com So some camera company licensed the Bolex name and is producing a 2k RAW 16mm camera  And according to their kickstarter you can pledge $3500 and get a preproduction model I'm pretty wary of something like this because RED and their deeper pockets couldn't deliver on their S16 camera, but this is really interesting and it would blow a hole wide open on the EX1/EX3 market if it was legit. I just wished they got a real cinematographer to shoot and light the demo video, because the lighting looks AWFUL and the grading does not help it at all. There's also the fact that it maxes out at ISO 400...I mean I guess you could push like 2 stops with RAW, but I think ISO 800 would have been much better. 1st AD fucked around with this message at 00:59 on Mar 14, 2012 |
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Mar 14, 2012 00:56
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Great, another raw camera in a horrible form factor. I can't wait until Silicon Imaging releases an update to the si2k that's just a pineapple.
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Mar 14, 2012 01:57
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If that thing ends up having an EVF that I could just plant my face into I'd be totally down with it.
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Mar 14, 2012 02:33
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exp0n fucked around with this message at 01:04 on Nov 30, 2014 |
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Mar 14, 2012 03:16
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Just wrapped the Cyprus section of my shoot and had a blast! Even though it was basically 12 consecutive days of nearly 12 hours a day, it was awesome! One thing we ran into, though, was that our RED One (ugh) decided halfway through to no longer allow us to change the ISO setting anymore until we updated to the latest firmware. That was certainly interesting, especially since this happened during a nightshoot and we were stuck on ISO 250 with very a small lighting package in a tomb. I will admit, I was furious. Especially since it worked fine the day before. Thank goodness we had one 6K that I could blast and bounce into the set but it was far from ideal and I had to break my own rule of never going beyond 2.8 on my Superspeeds. I really am starting to actually hate RED instead of just being annoyed/surprised with them. I wish the budget had allowed me to get the anamorphic Alexa package I was trying for. Production also forced me to bring a zoom lens along with me (for speed), an Angenieux 25-250, that I hated. I was okay with bringing a zoom but I wanted me an Optimo. That was beyond the budget so I was stuck with a slow Angenieux that maxed out at 3.5, had a minimum focus of 1.7 meters, is wooly as poo poo, kept zooming by itself between 44mm and 85mm for some magical reason, and is going to be a nightmare to grade next to the primes. They wanted me to use it for almost everything to justify the cost. Fortunately I managed to constantly find reasons not to use it and they never got mad! The local gear we rented had one of the crappiest cranes I have ever had to use. An ancient Felix crane that barely had any height and used a terrible PeaPod head that I think only really works for tiny DV cameras. Anything heavier made the head vibrate like it was being electrocuted everytime the move became a bit too fast and there was no subtlety in the movement at all. Didn't matter if I used the wheels or the joystick, the panning/tilting was more like an on/off switch than a gradual ease into the move no matter how I set up the sensitivity. Other than that we did some awesome stuff though, I am insanely proud. Still five more days to go in Holland and then we wrap. It's going to look epic  . Here, have some pictures!     
Steadiman fucked around with this message at 11:03 on Mar 14, 2012 |
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Mar 14, 2012 10:51
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Re: the Red bullshit, at least it's just metadata. Trust your meter and crank that poo poo back up in Red Cine, right I have Also had the pleasure of cursing out that Angenieux. We have one here at FSU and it's balls slow, soft unless you can get it to an f/8-11 or so, and heavy as all hell. Ours doesn't have the magic zoom problem though. Maybe yours was haunted? The pictures look great, man. Wish I could have come help! Also, here is a picture of my camera team putting a Red in a kayak. 
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Mar 14, 2012 13:04
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1st AD posted:http://www.digitalbolex.com It appears that they're taking this industrial camera: http://www.graftek.com/pages/GX2300C.htm and adding in the components that would make it something closer to a digital cinema camera (XLR inputs, audio codec, and many other things that are over my head). But then you get to this part... quote:Viewfinder: 320×240, 2.4” diagonal, with Focus Assist I'll hold off.
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Mar 14, 2012 19:50
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Stu wrote a pretty well-reasoned skeptical post about the new Bolex: http://prolost.com/blog/2012/3/13/digital-bolex.html He's still cheering them on though.
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Mar 15, 2012 12:11
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Tiresias posted:Hope to see you in March at Arrowhead. Steadiman posted:See you at Arrowhead This is a total coincidence, but I'm taking that workshop. It'll be interesting to finally put some names to faces. 
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Mar 17, 2012 09:49
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Ben Solo posted:This is a total coincidence, but I'm taking that workshop. It'll be interesting to finally put some names to faces. You got a real purty mouth, boy. If Steadiman smells like tobacco, be careful, that's his mating pheromone and we can't guarantee your safety.
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Mar 18, 2012 01:32
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Man I keep forgetting Arrowhead is next week and I'm supposed to be on a plane to LA on thursday, the day after I wrap my movie. Can't believe how fast time goes! My mind is still consumed with the last two days of shooting, one of which is going to be huge, that I can barely see beyond that. Looking forward to seeing y'all there and don't worry, I've pretty much stopped biting people for wrong posture so I've been getting better
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Mar 18, 2012 17:46
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Does anyone know of a better resource than ebay completed listings or craigslist for finding out how much to sell used gear for? I'm looking to unload my HVX 200 with lens adapter, but I'm having a hard time figuring out what to ask/expect. I'm seeing anything from $1600 for a kit better than mine to $7000 for just the camera.
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Mar 19, 2012 01:49
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Anyone have experience if Alexa Data Manager? I just got on as data wrangler for a feature and they're shooting Alexa (yay) and using this software for the media management. Usually when I manage SxS media I do a drag and drop and basic checksum for files (this is mostly on commercials) and log it all. This is sort of new territory, but having spoken to the data wrangler where the production is coming from, it sounds pretty straight forward and the shoot seems fun. Just wondering there are any tips/tricks/things to look out for when using it.
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Mar 30, 2012 23:31
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I've got an Alexa question as well. When shooting LogC ProRes, how do you make sure that you exposed your shots as intended? Do you look at the LogC waveform, or the Rec709 output waveform (when shooting for TV), or both? Or do you rely on a light meter? I'm not a camera operator, but I'm curious. On that same note, what do you do when you shoot in RAW (e.g. on a RED camera)? Das MicroKorg fucked around with this message at 12:07 on Apr 7, 2012 |
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Apr 7, 2012 12:04
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I can speak to the RED stuff. It definitely all starts with the light meter, but then you have the histogram, false color, and the endzones, which tell you if any part of your image is blown out or in the dark past the sensor's ability to capture it without noise or loss. There's a couple more settings on the RED but those are the ones I tend to use.
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Apr 7, 2012 14:23
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FLX posted:I've got an Alexa question as well. When shooting LogC ProRes, how do you make sure that you exposed your shots as intended? Do you look at the LogC waveform, or the Rec709 output waveform (when shooting for TV), or both? Or do you rely on a light meter? I'm not a camera operator, but I'm curious. I only need to look at the waveform for Log, 709 is for clients. Also light meter.
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Apr 8, 2012 05:18
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Speaking of ARRI, anyone going to the open house in Burbank on Thursday? Light meter, by the way
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Apr 8, 2012 18:17
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Steadiman posted:Speaking of ARRI, anyone going to the open house in Burbank on Thursday? Yes
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Apr 9, 2012 01:27
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Had a chance to monkey with the Arri Alexa-M on set the other day. What a weird piece of kit. It's half usable, it stills seems a long way away from being a polished Arri product, and on top of all that, it makes no sense. We couldn't think of an application outside of car shots where the separated body would make any sort of financial or cinematographic sense. Even 3D would be a bit clunky. Ah well.
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Apr 9, 2012 06:29
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ogopogo posted:Had a chance to monkey with the Arri Alexa-M on set the other day. Aerials, remote heads, process trailers, confined spaces, etc. It has it's place, but it's mainly for 3D applications. (being part designed by Pace)
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Apr 9, 2012 23:31
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I thought I could afford a Red Scarlet, but even after getting the base packs you need so much loving extra equipment to make it at all practical, and some of that poo poo is expensive! 10 000 USD for four SSD-cards! So... Can anyone point me to any alternatives that are worth seriously investing in with a budget of around 25 000 USD or below? Excluding lenses and sticks and stuff, though a cheaper camera would mean more cash for lenses. I'm of course able to do research, I just assume people like Steadiman could pull a more informed suggestion out of their asses than I could after a week of research :P
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Apr 10, 2012 18:30
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Greenplastic posted:I thought I could afford a Red Scarlet, but even after getting the base packs you need so much loving extra equipment to make it at all practical, and some of that poo poo is expensive! 10 000 USD for four SSD-cards! The new Canon C300 has been my dream camera since it was announced. Check out this comparison to the Arri Alexa: http://nofilmschool.com/2012/04/shane-hurlbut-compares-arri-alexa-canon-c300/ It costs 15k but uses CF cards and canon lenses so you don't need to buy as much proprietary stuff to get started with it.
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Apr 10, 2012 18:52
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Sony announced the NEX-FS700 - 1080p internal recording with the capability of doing bursts of 240fps, with 4k RAW recording over 3G-SDI. It's got a built-in ND filter wheel and it's coming in at $8k - I'm sure the 4k recorder will add another $4k, but I think this will be a real game-changer.
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Apr 10, 2012 19:02
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Why does everyone want to own a camera? Is it a business decision, or a tool you want in your palette?
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Apr 10, 2012 19:47
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Equipment expenditures are a pretty sizable tax write-off for a business. I always try to make 1 major purchase every year for this reason.
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Apr 10, 2012 20:10
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If it's a business expense, do you make a return/profit on it? Or is it strictly to offset your 1099 income and build assets that way? I find myself wondering why so many people buy cameras, and it always seems to come from a film school-rooted, indie film inspired technology fetishism as though owning a RED Epic will put them competitively in a different place... and the strange fact is that it's kinda true, albeit erratic and hard to show.
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Apr 10, 2012 20:25
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It's pretty much to offset taxes from 1099 income - if I wasn't able to do that I'd just rent everything I needed.
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Apr 10, 2012 20:32
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