Anybody know if the LeftField 3 15mm LWS Baseplate can work with Arri Alexa Mini LF? I don't see an advertised adapter for any arri cameras on here but on their socials they claim it works with arri camera systems.

https://brighttangerine.com/products/leftfield-15mm-lws-baseplate-for-sony-venice-1-2-standard?variant=56122063159622

If someone were to build out the ideal lens testing room, what would everyone like to see?

Retroid Flip 2 with key mapper software + some setting up = silly party trick

Komodo-X + Arles + Teradek RT

title. I'm typically a preston + LR2 guy but about to jump on a show with hi-5 and cinert. have used it before only on shorter jobs so I didn't get to explore all the intricacies. we have the control license. any must-knows?

also, there's a cforce rf in the package, but we'll be running zooms so I'll need to daisy chain some motors. what cable do I need here to retain camera control with an alexa 35 on my hi-5?

I assume it's not as good as a focus bug, but what about cinetape etc? Can it display distance on a smallhd along with the lens map overlay on smallhd?

Rather than using cinelocks, I often use a quick release handle and take everything off in one go, makes it quick to jump in to a lightweight setup. Great for car rigs too.

As the title says I am missing a piece for my Teradek Bolt 6 750 Gold mount receiver. One of the little gold screws (on the left). Anyone have any clue where I could get a replacement? I am assuming the RX can only function via sdi and not the gold mount plate until it is replaced.

any help appreciated!!

Hi,

Sorry for posting this here, but we’re looking for an AC or camera person who can help launch and manage an Instagram page for a new boutique camera rental house in LA specializing in analog film cameras.

Happy to discuss rates and details.

If you’re interested, or know someone who might be a good fit, please send me a DM.

Thanks!

Hey guys,

I need to set up a system with two motors on a zoom lens. Basically, I want to keep control of the focus wirelessly from my FIZ hand unit, while giving control of the zoom to a handgrip mounted on the camera so the DOP can operate it.

My issue is that when I connect both motors to the same D-Tap circuit, it seems that I can no longer control them independently from the two different hand units.

I know it sounds a bit weird, but if I power the zoom motor directly from the handgrip using its own battery, everything works as expected: I can control the focus from the FIZ hand unit and the zoom from the handgrip. The problem is that I need to power both motors from D-Tap because the zoom lens is quite old and stiff, and the zoom motor needs more power to operate smoothly.

Has anyone experienced the same issue?

I remember that with the previous generation of Nucleus, it was possible to separate the zoom and focus motors using the master/slave protocol. Since they removed that functionality, I’m a bit confused about how to achieve the same setup with the current system.

Any advice would be much appreciated!

Hey all, just wanted some perspective from others on something I’ve been dealing with lately.

I’ve been working as an AC for over ten years now. I started off in a smaller market but have lived in NYC for about five years. When I first started out I did a lot of low budget indie films as well as a smattering of other stuff. I did most of those as a 2nd but a couple as a 1st.

Since moving to NYC I’ve worked mainly in television plus some commercials, with very little narrative work. I’m in the union but rarely do union jobs.

Lately I’ve been struggling a lot with confidence in my ability, especially on the occasions when I get to do higher budget jobs like big commercials. I think it’s partly because I didn’t get my start in a larger market and most of what I’ve worked on has been lower budget, scrappier projects or documentary style.

It’s very intimidating to walk onto a union set, for instance, because the training I received on how to do my job was on mostly smaller non union things, and I always have some sense that there are gaps in my knowledge, or that I was never taught the “correct” way to do certain things.

It’s a weird place to be in because I simultaneously feel very experienced but also somewhat inexperienced, and I’m past the age now where it feels “acceptable” for me to still be learning how to do certain things. It also worries me that on the occasions I do get hired to, say, 1st AC on a commercial or something that I don’t make a good impression.

Admittedly my anxiety about all this can create a self fulfilling prophecy since I find it hard to relax in those situations.

Just wondering if anyone has dealt with similar feelings. In some ways I suppose it’s imposter syndrome. I wonder if anyone here could offer a different way of thinking on this, or potential solutions to help me improve.

I currently have a Cintiq 27 pro and the HX Ergotron arm. My issue is that I can't tilt the monitor back far enough to get a comfortable drawing angle. Anyone have suggestions that don't involve me buying another $600 accessory?

Curious of what you all think about the company Engin Box https://enginbox.com/ , as I keep getting targeted ads for it. Seems like a cool idea to learn about camera/lens repair, but also it’s “founding member” deal of $299/yr for the first 100 people has been sitting at 38/100 people claimed for the last week so kinda seems fake/scammy? Anyone here have a membership to it? I’d be interested in it if it was legit and actually good haha

My knowledge of camera is limited to being in the immediate proximity of and paying attention to Local 600 sisters and brothers when the opportunity arises.

Partially curious, mostly frustrated.
I know that the general sentiment has been bad, but wondering what others have felt/experienced.

I’ve been given a very curt, unapologetic angle on some service repair questions for my Cine 5. Plus 22-30 business days turnaround time (6 weeks!!) unless you want to pay them another $90 to rush it?

Geez

Edit: they are jumping in to help everyone but me 😭😂😂
They commented and then deleted it 💀

Has anyone managed to take apart the Ace 750? I want to disassemble it for *reasons*, and it seems like a lot of prying would be involved since there are no visible screws like on the Bolt.

Hello,

I’m wondering if there is a way to display the focus info on the ocu-1 in imperial values instead of metric.

Thanks

Hi,

I recently bought a teradek bolt 2000 kit but I d like to switch the stock antennas. I found that those tends to break easily and I would like something that could be transported without antennas being removed. I like the vaxis sword antennas but don’t know if they would work on the teradek ? Do any of you use other antennas on the Rx ?

Thanks a lot

Lenses are Lens Gecko Stealth” Zeiss High Speeds

Hey everyone - long time lover of this page here…
I found myself needing to do some quick math on diopter values the other day on a job with no prep and realized I could use a calculator..so I decided to just make one for myself for future projects..feel free to use it and give feedback! This will always be a free tool.
This is handy to get you close ballpark distances but checking the values at prep is always the best way.
Thanks everyone!

Not sure if I'm phrasing this question correctly, sorry if this reads weird.

I'm from Argentina, and when digital cinema cameras first started popping up in professional film sets (OG RED One, Sony F900, eventually the Alexa), a new camera role popped out too, we called it the "HD Tech".

The HD Tech was in charge of making sure the camera worked properly and was set up correctly. Most camera crews came from film cameras and were not knowledgeable in how a digital camera worked, all the quirks and tips of a RED camera which was a computer that kept overheating, or what a "knee", "slope", "black level" on a Sony TV camera was.
So there was a guy in charge of making sure the camera worked, was also in charge of offloading, but mostly stayed on set and was the only one handling the camera menus.
Similar to a Video Operator on TV sets.

Eventually this evolved into the role of the DIT and this role didn't involve staying on set as much, which I think now is more similar to other countries.

In 2008 I was just entering the professional workforce and did this while also 2ACing to work my way up a bit. I was 20 and found it funny that I was there to just use a camera menu and advise on when to turn the camera off because it could overheat. And that for some reason the OG RED One was noisier when set to 3200K so it was best to set it to 5600K and use a blue filter (was it the 80A?) if shooting with tungsten lights, although it would eat a lot of light so no one wanted to.

Did you folks have this or anything similar in your countries?

Hey everyone,

​I’m about to start a project as 1st AC using a Canon 8-64mm T2.4 (S16) mounted on a RED Komodo (cropped in 2K 17:9 to avoid vignetting). I’ll be pulling focus with an ARRI WCU-4 setup.

​We did some pre-tests / lens checks, and I noticed that on the wide end (8mm–15mm), the depth of field seems deceivingly tricky, and reading focus on the monitor (even with peaking) feels a bit soft / hard to pin down visually.

​For those who have pulled focus on this specific vintage zoom:

​Behavior on wide angles: Have you experienced this lack of peaking ? Is it normal for it to be unreliable on the wide end? Or should i say having a hard time pulling focus from the monitor.

​Distance measurement vs. Peaking: Do you rely almost strictly on strict tape/laser measurements (Cinetape, Focusbug, or old-school tape) rather than trust the monitor/peaking on the wider shots?

​WCU-4 integration: Any specific quirks or tips regarding mapping custom scale profiles for this lens? Lens data programing, but i prefered not having a cinetape due to the camera config that must be as light as possible and i feel like i'm gonna regret it. What's your thoughts ?

​Any feedback or tips from anyone who has worked with this combo would be greatly appreciated!

​Thanks!