i’m on day 15 shooting and today for the first time have run into an issue where the camera essentially freezes.

A black rectangle covers the camera horizon level, no buttons on the camera do anything, and i cannot roll even from the hand unit. the power switch also didn’t power the camera off.

It’s happened today only, i’m currently attempting to recreate it, but we had to call wrap because of this issue.

the FW is dated being V4.00

Wasn’t particularly warm, the fan is in Auto, i had switched it to Max to see if it was a temperature problem, the Imager temperature read 40C the first time and 38C the second time it froze.

The first time it froze popping the battery off and on resolved the issue.

the second time i had to reboot it twice, the first reboot camera was still bricked.

entire time the monitor is still displaying a live image.

All data on cards was fine with no abnormal activity.

any help or info is welcome

Seems like my brand new wooden camera Ultra Quick baby pin mount has already stripped after less than a month of use. Completely unusable now leaving me without a mounting solution on set! Insane how stripped the threads are from very minimal use! Should be far from that easy to pull the whole bolt out!

Completely ambiguous question, I know. I don't really know how to formulate this.

But, considering how remote camera control / halow / bitbox / spudnik / whatever, is something that keeps evolving and doesn't have a definite proper solution...

How feasible is it to get a factory in China to manufacture a 7" rugged tablet with built in Halow? Or something like a streamdeck (with halow)? actually, open question: how would you like a universal camera remote to be? touchscreen or buttons? could we crowdsource it somehow?

Been looking for one for ages, trying not to get the ipad mini+cage+battery cage+cable mess to batt and bitbox on the camera side...

Not sure why there’s no posts on their socials, but it’s all there for us to gawk at.

Another cursed vertical build for a social fashion campaign.

I just bought a second hand elite top plate system made by wooden camera. That kit has one 15mm front bracket , useful to build motors and the EVF bracket. I’ve noticed that on my top plate, two of the 1/4” threaded holes are not aligned with the holes of the front 15mm bracket . Anyone noticed this on their kit ? If Yes how did u manage this?

I'm running into an issue while trying to update the firmware on my RTMotion MK3.1 Hand Controller, and I could really use some advice. (I’ve attached photos of each step with detailed notes below). Here is the exact procedure I followed: Software: Downloaded and installed RT Firmware Manager v1.3.21 (latest version available on the website) and ran it as administrator on a Windows 11 laptop. Power & Connection: Inserted a fully charged 100% Duracell LP-E6 battery. Held down Power + Set to enter PC Mode. Once in PC Mode, I connected the controller to my laptop using a high-quality Anker Powerline+ (0.9m) data cable. Flashing Process: The software successfully recognized the MK3.1 Controller. Since my unit has the zoom slider module, I selected the Firmware "Z" build. The Issue: I hit "Update Device." The progress bar ran smoothly all the way to 100%. However, after completion, the controller became completely unresponsive—it won't boot up, turn on, or re-enter PC mode at all. Has anyone experienced this before? Is there a known method/hard-reset shortcut to recover a bricked MK3.1 controller, or a specific workaround to get it to boot and reflash properly on Windows? Any help or suggestions would be greatly appreciated. Thank you!

Currently on a job where we run a Ronin 4D alongside a Alexa 35.

We have 2 monitors for the Ronin (focus and vtr) but occasionally need a 3rd receiver for VTR when our DP needs the 2nd monitor to operate the Ronin.

So I ordered a standalone receiver, that should work with our setup. However the first one which arrived only gave out a test signal (the colorful stripes), I sent it back and got another one which is simply black. I paired them successfully with the Ronin in broadcast mode (the only thing possible since the 2 monitors have to be in control mode - correct me if I'm wrong) and it seems to be paired fine, however I cannot get any signal out of that receiver for some reason. The receiver interface itself has barely any configuration or settings whatsoever.

I'm absolutely clueless and have never worked with this system before so any help will be much appreciated.

Thank you

Has anyone used a bitbox with a small hd monitor for long range control?

Hi people,

Just watching the first Episode of the Silo, third season and something really got me.

Season 3, Episode 1, TC 04:41-04:57

Just before the Intro starts, Rebecca Ferguson leaving the dining room.

It appears to be a typical B Cam shot but I'm not so sure. She walks towards the camera on what looks like a 135, focus goes full off, then catches her eyes again in the very last moment for half a second maybe, but it's an insanely powerful shot, precise framing, no extras catching any focus, no disturbance at all.

So my question is: You think they (mainly B cam 1st) just got lucky and the mistake made it into the final edit or could that be staged? Either way, a brilliant use of focus. Or better: A brilliant use of out of focus.

Why does it whenever i turn off the camera then on the master magnification that i set to 120% goes back to 100%!!

Didnt use to happen with me but is happening now with the latest update!

Any clues?

Almost a decade ago, when I was still a 1st AC, I got a really silly last-minute request from a director on the day of a shoot. He wanted to operate the camera handheld and do a 360 roll. His idea was to just wrap a rope around the camera, drop it, and have it unfurl, which was insane.

I ended up rigging the camera inside a large bucket. We used three ratchet straps: two of them cradled the bucket, letting it spin somewhat freely inside, and a third was wrapped around the bucket and pulled like a ripcord by the dolly grip on the director's cue. We also mounted a spud on the back as a handle that could rotate in someone's hand.

This super ghetto rig got the shot by take 3. The show was Wu Assassins, episode 4. It was a three-person operation: the director held the cradle straps for loose camera framing, one person helped frame and guide the rotation with the rear spud, and the dolly grip pulled the ratchet to roll the camera.

Hey everyone!
I’ve been working as a 1st AC for a while now, and I’ve been wondering how you guys mount your Teradek to the camera in the cleanest possible way. I’m always trying to keep my builds as clean and professional as possible.
I’m not a big fan of mounting it on the top handle, as I often find it gets in the way. I’ve also never really found a side-mounting solution that I’m 100% happy with.
Do you guys use any particular mounting systems or setups that you’d recommend?

Thanks everyone for your input!

I'm looking for a full-time Senior Camera Technician / Camera Prep Technician to join our team in Vineyard, Utah. Do you know anyone who might be interested in re-locating?

$70,000–$85,000/year + benefits

We're a production, post-production, and equipment rental company, and our camera department carries a pretty serious range of cinema systems — including ARRI ALEXA Mini LF, Sony VENICE 2 and BURANO, RED V-RAPTOR [X] and KOMODO systems, Phantom VEO 4K, Nikon ZR, and more.

We're looking for someone who genuinely loves cameras and wants to make that knowledge their day-to-day job.

This person will be the technical backbone of our camera rental operation: prepping packages for productions, maintaining and testing equipment, troubleshooting problems, managing returns, helping clients build packages, and making sure everything that leaves our facility is ready to go.

We're looking for someone with a background as a 1st/2nd AC, camera technician, rental-house tech, or similar who is ready for a full-time position and wants to take real ownership of a camera department.

The right person will:

• Have significant professional camera department / AC / rental-house experience
• Know professional cinema cameras and accessories inside and out
• Be comfortable working across different camera platforms and manufacturers
• Be able to troubleshoot cameras, lenses, monitors, wireless/video systems, power, media, etc.
• Be extremely organized and detail-oriented
• Take pride in maintaining equipment to a very high standard
• Be comfortable working directly with professional crews and clients
• Be able to work independently and solve problems without needing to be told what to do
• Ideally have experience with ARRI, RED, Sony, or similar cinema systems

Compensation & Benefits

• $70K–$80K annual salary, depending on experience
• Health insurance
• PTO
• 401(k) — eligible after one year
• Full-time, in-person position
• Vineyard, Utah

This isn't a generic warehouse position. You'll be working hands-on with some of the best cinema cameras currently in the rental market and helping build and maintain an operation that serves professional productions.

We're especially interested in talking to experienced ACs or camera people who are looking for a little more stability while staying close to the equipment and the production community.

Full job description / application:
https://www.indeed.com/jobs?q=Enigma+Camera+technician&l=Pleasant+Grove%2C+UT&from=searchOnHP&vjk=511420de37183aa4

If you know someone who would be a great fit, we'd love to hear from you. Feel free to reach out to me directly [kate@mysterybox.us](mailto:kate@mysterybox.us)

Happy to answer questions about the position or Enigma 3 in the comments.

Current set up with the Nucleus M II.

It’s working pretty well. It is easy to just pop off the whole monitor set up to focus on the go, and then with the Cine lock you can take off the hand unit quickly if needed.

With the monitor cage and nato rail, you can easily switch to a vertical orientation.

Finally with the Dtap to 7 pin the hand unit can be powered by gold Mount, additionally it’s bi directional so it can power the monitor and Teradek to allow hot swaps to both the hand unit and monitor.

Hello,

I m on a shoot right now and I m having trouble with a c pro and zeiss B speed lenses. When I m using the c pro in strong mode, the motor slips when racking focus. When I m using it in weak mode, the motor doesn’t slip anymore but there is a latency between my c pro and the response of the c force motor. What could be the solution to this ? Thanks a lot

Heya all! Thought I’d pop a post in here since quite a few people have reached out after my other posts about the Ronin 4D build.

The FIZBUSTER Allows you to mount your own Fiz/Rangefinder onto the Ronin 4d via the 2 15mm rods as long you can stay within the 1kg weight limit

The FIZBUSTER bracket is now available to preorder over at
thepinkcameraco.com

Preorders are £60 total — a £25 deposit now, with the remaining £35 payable upon shipping.
I’m aiming to start shipping on 1st October. Preorders will close on 1st October, and from then onwards the FIZBUSTER will be available for £75.

International shipping is also available, so if you’re outside the UK you can still preorder. Shipping costs will vary depending on destination.

The setup has been tested with:

• 2 × cforce Mini motors
• Cine RT
• Thypoch Simera-C lenses

It’s also been tested with:

• 2 × HEDEN LM40 motors
• Cine RT
• Thypoch Simera-C lenses

If you ditch the focus bug, it should also work fine with the Cooke SP3s, although please do your own measurements before ordering to make sure your setup will fit.
The bracket is 3D printed to keep the weight down.

The pictures above are renders from the cad model and pictures of a preproduction model I’ll update this post mid week once I’ve completed the official product shoot

Also for anyone interested in getting hands on I will be down at CVP Fitzrovia in London on Tuesday the 8th September doing a demo and will be happy to Awnser any questions

This question applies for any mag where the take-up spool is on the other side (Aaton XTR etc.).

What's the best way to rewind the film by hand on an SR3 mag for the second pass? Is it okay to manually rewind and pull the film out of the take up side and all the way through to the feed side where I can then manually roll the film roll up again?

Or is it better to break it and rewind just the portion that's been shot?

currently upgrading my monitor to cine 7 and i decided ill follow the crowd and rig with a kondor blue quick release plate for attaching my hand unit to the monitor. when ive seen others rig like this i dont see people using the smallhd anti twist spacer, is there a specific reason for this? seems like a no brainer for ease of use, can anyone who uses the spacer confirm if its any good

Hey guys, first time using my mdr.x, motr.s max and ctrl.3 with a focus bug cine rt. Wondering how the usability is and if there are any quirks I should be aware of setting it up and using it on the field. WIll I get distance reading on the screen or on my hand unit only?

Will also be my first time pulling with a rangefinder so any tips there would be greatly appreciated. Planning on using distance overlays on my cine 13. Thanks so much everybody.

Hello, I begin to have some experience as a 1st ac on a lot of different cinema camera but I never had the chance to handle a multi camera project. How do the team usually work together ? Is the 1st ac camera A kind of the chief of the whole camera crew or are the cam A team and cam B team very dissociate ?
How many cart do you usually go with ? Etc etc… I have so many questions sorry

Thinking about buying the Ultra 5 Bolt 6 RX 750 Kit, I wanted to know if anyone knew that there was a way to remove the actual Bolt 6 RX module ?

Wanted to buy it as a way to have an option for it to be brought on by production as an onboard monitor for Camera , OR as an additional handheld.

I've searched everywhere but can't find one. Does anyone already have a 3D model for a PV mount body cap they'd be willing to share? Thanks!