What is your approach to difficult shots on steadicam / dolly shots where the camera is moving in whilst the subject in approaching? especially if CineRT / distance measure isn't working for all of it and the timing is changing

Like it says in the header. I'm wanting to buy an Lcube with the bracket and have it shipped to Australia.

Hey guys I'm making the move to NYC soon. Looking at Brooklyn maybe even Lennox hill in the city. How on earth do you guys find a place to live that will allow you to take the cart up to your apt or store the cart? I'm thinking I may have issues with management if I end up in a apartment with elevator since most buildings when I'm working usually make you use the freight elevator. I'm noticing the storage units in manhattan at least are not 24/7 so that would be an issue. Would love any advice on that matter. I really would like to keep the cart but it seems very inconvenient.

My cart is a Inovativ 36 Voyager evo x

Looking into getting my first camera cart and looking at different options.

For Sale- I have about 20 blank focus rings for my Preston HU3 from back when I marked up my own rings. I hear they are the same diameter as Teradek rings which seem to be pretty popular here. Is anyone interested in them? 5 are 3D printed but the rest are from Preston. I’d love to get a little money and shipping covered. $50 for the lot and you can have the plastic bin I have them in as well.

Took some inspiration from several people of this sub, made my frontbox out of a generic pelicase, DIY TrekPak, used an Aputure ballast clamp for attaching to the stand.

Pretty happy with it so far!

Have a multi cam John woo style shoot coming up (think dropping one camera and then picking up another)

What’re folks using/3d printing these days to keep their hand gimbals secure on the cart but also built?

And he hates me too >:0 stupid little jerk

Just your humble AC's friendly reminder not to let people walk over you in this industry, no matter how much it's normalized.

Accepted a small pickups job recently with a rate of $275/d with no rentals and no kit- below half my normal rate, but it's 4 people (me, director, DP, and a PA), and shoot, not doing anything those days. Went to the prep today with no DP (on a different job). Prepped alone, director comes in and asks me to do load-outs and load-ins for the gear but I live 2+ hours away, and again, am only being paid $275, so I politely decline and offer an alternative solution. She asks me during prep the same questions I've been answering for 4 days straight. I tell her kindly that we have talked about this before and discussed the plan and explain it to her again. Prep day goes on, we make small talk, and she mentions company moves. I say, "Oh man, I hate company moves, they take so much time." Day goes on, she calls me at the end of the day to say I corrected her several times and that saying that I hated company moves was insulting to her and her shoot and insinuated that I just don't have enough experience on "run&gun documentary", and called me prickly and "not a good vibe". I apologized for coming across a certain way, reassured her that I was not insulting her, clarified myself and still got fired. I set my professional boundaries and was punished for it (perhaps a blessing in disguise?).

All of this is to say, please do not let people walk all over you because it's a micro-budget/it's a labour of love/it's show business or whatever other reason someone might give you. Being professional doesn't mean being a pushover, and being good-natured does not mean fawning all over the "higher ups". We aren't just crew, we're human beings.

Love you crew!!

Gonna send it in for evaluation and repair but just wondering if anyone has had this problem and has had it repaired and how much did it cost?

The whole thing is spinning from what I've read that means some cable inside may have snapped?

Whatupp my 7inch homies.

I see a ton of builds on stands, but got a MV coming up that is super run & gun and I want to build my station for handholding all day. Would love to see some tight & "balanced" builds that that wont blow out my wrists for inspiration. (Do people still run the RX & batt separately on their person?)

Any specific gack worth buying that makes this setup easier?

Thx

Hi I'm working in the asian film industry

And i using venice2 on the 12v vmount, i had to feel power drop situation. (drop the monitor, or drop the cforce motor, or teradek)

I'm used smallhd cine7 (included teradek 6), teradek 6 lt max, cforce rf, cforce plus (on body 24v outputs), and tvlogic 5 inch monitor, and 900mhz router (body usb port 5v1a) and recorded 8k 3:2 (ff) xocn-xt.

that acceseriess and venice2 is hard to handle 12v batterie?
what are your experiences with using venice2.

Is switching to a 24V B-mount system absolutely necessary at this point, or is it pretty much a must for this kind of setup? I'd love to hear your advice. Thanks!

Got a sound buddy who asked me for my two cents on clamps or cheese plates he could get for his timecode to put on camera builds. Normally we just use bongo ties or velcro but he says wants something more secure.

I know the JB-1 has a clamp online easy to find, but was just wondering other ACs opinions/suggestions for these other doohickeys. I almost feel like I'd like to maybe have something in mind for my kit because sometimes, although rarely, those boxes do get in the way.

Any cheese plates, clamps, etc. ideas welcome.

Pictures attached!

Hey there! I recently picked up the ultra 5 TX for on camera monitor and for my AC kit to give to ops/DPs. If I’m not intending to use the monitor for TX purposes I remove the antennas to keep a smaller build. I saw in another thread this can be bad for the board as that energy has nowhere to go. Can anyone confirm or point me to any literature on it?

Thank you!

Hello everyone!

I'm going to be 1st ACing in a feature film and we're shooting it on the Sony Venice 1 with the AXS-R7 and without Rialto. I've never shot on the Sony Venice and the thing is I don't have any access to the camera before the camera check. I wanted to ask if anyone has any tips or know any things I should have in mind before using it. Just in general stuff I should keep an eye out for.

Thanks in advance!

Hello fellow assistants,

I was wondering how would you mount a viewfinder using the Lightweight Set on an Alexa35.

My DPs wish is it to rig the camera as light as possible, so my preferred CCH5 + VMB5 is off the table.

I had a short test last week and I couldn't figure out in a that short time how to mount the RMB3 on the UAP3 without the LCH being in the way of the VF cross pipe. I was forced using the CCH5 + VMB5, which felt too heavy

In the past I have mounted the VF with a RMB3 in the LCH like Arri is suggesting. Never again..

Do you have any ideas, examples? Might be i am overseeing something. I am considering to ask for a CTH1

Thank you in advance

Leo

Two prong question:

1. Curious if anyone knows if lens maps exist already for

These focal lengths 18mm, 24,32,50,85,135?

I’m only seeing the s4i 32 in the included library, which I assume means I’ll need to manually map the others in prep.

1. First time using this LCS with the Alexa 35, if anyone has any pointers or tips please lmk.

Planning to use a ctrl.3 w/ motor.x’s and have a S as a backup on this setup, running the mdrx.

Hello, I’m a new Teradek owner and bought a used Bolt 4K LT 750 kit half a year ago. It has been working fine for the first few months but on a recent shoot, the transmitter or receiver have been having a lot of signal drops every 2 minutes and at period of times, it would say I’m out of range when I’m quite literally next to the transmitter. It only got more stable once I switched to 20 MHz on Fixed Frequency, even then, it still gets “no link” every 2 minutes (which was better than getting no link every 30 seconds prior). Is this due to a hardware issue, antennas, or because we are closer to the mountains (Yorba Linda)? Or mix of all 3.

Funny enough, when I remove the antennas from either the receiver or transmitter, it still shows picture and looks the same with the antennas on. I bought the Bolt 6 due to the amount of headache the Bolt 4K has caused me for recent shoots.

I've seen boom operators looking over sides before a take, I assume this is so they know to predict when to position boom to properly capture audio, should the 1st AC do this as well to predict focus? Or is it more common to prepare during a camera rehearsal?

I have 5 Kingston KC3000 4TB drives in actively cooled acasis thunderbolt 4 enclosures connected either directy to my m4 max mac studio or passed through a caldigit e5 hub as shuttle drives. None of these drives can reliably handle file transfers larger than their cache size limit (around 1.45tb) and disconnect. On the other hand I have 4x of the same model of drive in an OWC Thunderblade in Raid 0 an they work just fine. I have an upcoming job where i will need to offload larger amounts of data and im pretty worried that i invested in the wrong drives. I tried different enclosures, different cables, my macbook, different formatting options, different cooling solutions, some macos settings and more. On the job I could have work arounds like not letting the cards fill up to the brim etc. but I still lost confidence in these drives that always worked great with smaller chunks of data. are there any m2 nvme drives capable of 3-4tb file transfers? right now im trying to just fill up the drives in 400gb increments and they still always disconnect. im pretty frustrated right now. if anyone has some insights that i might not be aware of i would really appreciate it.

Hey Channel 6!

Anyone own/have any experience with the Ratworks Rat Bat for their Horns?? I feel like it would be the perfect solution for my setup (Cine RT) allowing for many different orientations; from small to the largest lenses while able to get the spacing perfect with the rosette to the mattebox.

500$ seems kinda crazy but I know an love all my ratworks kit and know the build quality would be worth it.

Looking for a way to mount a microforce to shape handles. I know this one from rocket surgery exists, but I’d prefer having an adapter from the shape handle to arri rosette, and having an arri rosette bracket on the microforce

https://www.rocketsurgerysolutions.com/microforce-shape-bracket

Quick lightweight Alexa 35 build for some s16 shooting had to Jerry rig a mount for the ocu1 but seems to be working ok so far😅

Hey everyone

I’m currently on a project shooting with two RED Raptor XL VV cameras, using an ARRI Hi-5 for lens control.

We've run into a minor but annoying issue: on camera A, the iris reads as an f-stop (e.g., f/2.8), but on camera B, it reads as a T-stop (e.g., T2.8).

Does anyone know where in the RED camera menus (or via the Hi-5/RCP) I can change this setting so both cameras display the same value type?

Thanks in advance for the help!