Alexa35 on my Steadicam with Laowa probe lens for a commercial.

cross-posted from: https://lemmy.world/post/212078

> My setup was a little janky for this one, it's more refined now lol

cross-posted from: https://lemmy.world/post/211319

> We used it for the big sweeping town shots with all the extras and animals walking around. Looked like a real town.

cross-posted from: https://lemmy.world/post/199215

> The Gaffer brought the condor down once the lightning got too close for comfort because it's basically a giant metal lightning rod.

cross-posted from: https://lemmy.world/post/198847

> Human for scale lol

cross-posted from: https://lemmy.world/post/198684

> Two Sony Venice 2's with Arri Master Anamorphics. We were tracking stuntmen doing a horse chase scene through the desert.

This is the same place they filmed the western town scenes in Django Unchained and Once Upon in Hollywood, as well as dozens of other westerns. We shot here for about a week.

cross-posted from: https://lemmy.world/post/195871

> I was 2nd ACing this feature and this was my 1st's cart, but I just got my own YaegerPro as well. Best camera cart in the business, built like a tank and modular enough for any situation.

cross-posted from: https://lemmy.world/post/183013

> This is a nice edit that I like to come back to and watch from time to time, some really powerful imagery. > > Credit: > > Cinematographer: Luca Bigazzi > > Editor: Riccardo Fusetti

cross-posted from: https://lemmy.world/post/182903

> Anamorphic lenses with lots of crazy lighting and flares. Movie isn't out yet, we'll see how it turns out.

cross-posted from: https://lemmy.world/post/182717

> This thing is awesome. For reference (probably it's most recognizable use), that's how they did some of the shots in Kendrick's "Humble" music video. They literally control it with a look-alike Xbox 360 controller. > > This was also a really easy day for me to 1st AC because the focus pulls are also programmable so I basically just did lens and filter swaps.

cross-posted from: https://lemmy.world/post/182456

> This thing is a beast! Lot of improvements, some new features that were "meh" (mainly the burnt-in noise textures, why not just do that in post with more flexibility?) The operator-side menu is a nice addition. Really wish they'd give us internal ND 0.3 already though. > > I 1st AC'd a Chris Brown music video a few months later and we had the 35 as A-Cam on a technocrane with a Mini as B-Cam. That was fun, the camera is nice of course and performed well, though it took us about 25 minutes to find the only D-tap port located on the bottom of the camera.

cross-posted from: https://lemmy.world/post/182310

! > > It worked, I rolled around with my pelicans, we got our shots and went home.

cross-posted from: https://lemmy.world/post/182139

> We had fun playing with this Cartoni Lambda 25. It lets you spin the camera around quickly and easily using a wheel and momentum. Mounts to any mitchell receiver.

cross-posted from: https://lemmy.world/post/181982

> Condensation is a bitch. These were spherical Lomos. Old Russian lenses. Luckily water didn't get inside the glass elements, so we wiped them down and let them dry and went on with our day.

cross-posted from: https://lemmy.world/post/181753

> Setup from a feature I 1st AC'd last year in Los Angeles. The grips brought their trunks.

cross-posted from: https://lemmy.world/post/181256

> A minimalist build I did recently for a fast-moving doc I 1st AC'd in Chicago.

cross-posted from: https://lemmy.world/post/148000

> This was a low-budget music I DP'd recently in LA. We shot it in a warehouse studio with a boxing ring. It's supposed to have a '50s boxing vibe. It was originally shot with color in mind, but in post we felt the B&W made it feel more authentic to the period and mood we were going for. > > I used mainly Arri tungstens, a couple Source4's, and Aputure 300d & Nova. The only way we were going to get through our day was if lighting didn't take up much time, so I spent about 2 hours in the morning lighting the whole set, and then we kinda just blew through it the rest of the day with small tweaks when needed. If I had more time, there's definitely some changes I would have made in between setups, but it is what it is. > > Most of this was shot on steadicam, with my Red Scarlet-W Dragon 5K and a nice set of Cooke Speed Panchros. The snorricam shots of Austin (smaller boxer) were shot on my A7SII because we couldn't splurge on a snorricam pro or other beefier variant. > > The color footage was interspersed throughout and at the end, and was sort of the "dream world" when he was unconscious. That's also why it's a different aspect ratio. This footage was shot at a later date on a beach in Malibu. > > Feedback welcome! :)

If you like soulful tunes interspersed with set jargon, these guys are for you!

Set Crush and What's your 20? are total bangers.

Okay, I'm not talking about portal-to-portal: what's the longest you've spent, on the clock, working on a set in one day?

I had some friends on the SNL film unit talk about a hellscape of 18 hours, but I know they mostly do two separate crews with separate shifts if they can staff it.

My personal record is 16.75 hours, sadly on a union majors movie. That was a lucrative but horrible day.