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I can't remember "fixing" a video camera, but I did go into the chassis on some film cameras over the years. After all, they were basically sewing machines with a few more buttons on them. The Arri SR 1 and 2 were a bit notorious in that they only had a single 3/8-16 tie-down on the base, which...

I'd be curious what the servicing options are on an F65 at this point. Probably worth looking into what it would take to get Sony or anyone else to work on it, and how many spare boards and parts are still out there. I don't think they made too many of those bodies.

fantastic!

That has been my experience. I am given project specs most of the time and it is literally never RAW. Some years ago I made a point of asking colorists how often they see RAW files, they said most of the time if a project was shot that way, the footage would have been transcoded to 4444 before...

The approved camera list for Netflix originals (they were the first to initiate this) was initially created around resolution--they allegedly wanted to ensure that if they were promising UHD to their consumers, the images had originated as true UHD and not upscaled internally as was the case...

The Skypanel was a huge hit when introduced and quickly became an industry standard. For the next few years, Arri owned the flat-panel space for higher end production work, as it had done with their HMI's for decades. Their curious refusal to come out with a newer version with better color...

I think it's always been a little debatable how much "formal technical education" one gets at film school, much depends on the given professor's knowledge. I think I got about as much out of the books I read outside of class than what I learned within it. And then a few years later, getting an...

that's the right thinking these days. I did one year at NYU and dropped out, having talked my way onto a number of large scale productions in NYC and eager to start working instead of sitting in a classroom, or fighting with the guys in the "cage" about getting the gear I needed for my student...

I think the point Claudio was making is that the 4D's ecosystem is compact and efficient. When discussing a lens motor system "slow" can be misconstrued as the max speed the motors turn (what I thought you were saying, and I would have been quite surprised to learn that the DJI system was...

It would be a rough blow to think of Arri as a brand going away (which is not the case--yet). My formative years in the industry revolved considerably around Arri cameras, starting in film school in New York in the early 80's and progressing through my early years as a Steadicam operator and DP...

On a job where there is VTR, I am more than happy to leave these sort of things up to them! In fact, on the commercial I just did there was a VTR person in the budget, but all things considered it was better for me to pull the mattes, and apply the savings elsewhere. In a union situation, I...

It couldn't be easier to use TV's as on-set monitors these days. Nearly all have a USB port on the back, and most micro SDI to HDMI converters run on 5V, so it's just a cheap barrel or USBC to USBA cable to power the converter. Add a 5/8 VESA mount and you are done! MD-HX's are one input...

Yes, I have a 200mm VESA to 5/8 adaptor on the back (non articulating, to make it more secure--I never need to tilt this display). Not specfically. All the incoming feeds (my portable system allows for three) go into their own Decimator HX to convert signal if needed, and to distribute to...

In 2020 Covid era I started providing a separate crew monitor to avoid having the faces hovering over the shoulder as you mentioned, and it has proven to be very useful. Given the 6' distancing rule back then I went big and got a 55" LG OLED for this, which still makes a fantastic crew monitor...

I think I had posted this in the threat about the making of the video, but it fits just as well here.

Traditionally we hit mirror balls with Lekos (i.e. tungsten ellipsoidals, aka Source 4's). In more recent days we generally use Lustres which are the RBG LED replacement for Source 4's, although still not quite as bright. I would think that tungsten Source 4's must be quite affordable these...

I haven't really been in a situation where we wanted to push a notable flare on screen and I relied on it in post. That's one situation where yes, I would be likely to introduce a glass filter for the effect. The concept of shooting a test clip with and then shooting the scene without is...

I tested Scatter in Resolve a year or two ago and was going to pull the trigger on it, but with work being so slow I couldn't really justify it for "fun". It's very easy to use and if you are looking to emulate an overall look, it's as simple as dropping it on a node and adjusting strength. The...

I consider practical diffusion to function in two different ways: predictable and unpredictable. Generally speaking, I prefer it to be predictable, in that it has a uniform effect that is consistent with camera movement and elements in the frame. Unpredictable is when you pan into a highlight or...

I don't get precious about the image on set unless I have a DIT who is dialing in live color. The majority of the time when I don't have a DIT I use 709 as the viewing LUT because I know where I am with that--once I start monkeying around with show LUT's it can steer me into lighting to ratios...