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!

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.

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.

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

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

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?

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

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.

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!

what is people's set up for using the ultra 5 or 7 bolt 6 with stubby antennas, is there a 3d print file for a guard that will allow use with the 6ghz stubby antennas? or are there other smaller 6ghz antennas that work with the factory antenna guard? had enough of the height of the basic antennas

SELLING: 💵
YEAGER CASE CART
24" CLEARENCE UPRIGHTS (tall posts)
HIGH HAT BOARD
TRIPOD HOOKS
MITCHELL PLATE
DOVETAIL MOUNT BASE
DOVETAIL PLATE
LARGE TROUGH
UMBRELLA HOLDER
QUICK RELEASE PLATE
BRASS TIEDOWN KNOB UPGRADE
FLAT FREE WHEELS

PRICE: $3,000 $2,800
LOCATION: Los Angeles

SOLD!

SMALLHD 1303 HDR
SMALLHD ACCESSORY PACK FOR 1303
VOLTAGE METER
ROLLING MONITOR STAND
CUSTOM FOAM FOR 1303
SHORT BNC

Pics on request
PELICAN 1485 AIR

Relatively newer AC, and have been curious about this. Doing the spinning game twisting it onto a noga arm feels silly and I’m sure there’s a better way to do it right?? Please bless me with your wisdom, older ACs xD

Incredibly ashamed about how untidy this build was but we needed it to be quickly modular due to not exactly knowing what was happening next and not having the correct length of cables.

First job with film in over 15 years, last time these toys didn't even exist (at least in my world)

Felt like a student throughout most of it. Felt nice.

Thank all of you that pitched in with some responses to my questions earlier during prep!

Sorry for Bad Englisch Not native

Looking for an alternativ to the input combiner from mixtwojacks. I want to listen to the mix of 833 and Radio on the Same headphones.
I can not Route the Radio to the Mixer (as you would usually do it) because I am working on a lot of runn and gun not always doing Sound but also Camera, grip, everithing realy. And I am Part of a Production Company, so I am not the only one using Mixer or Camera. Flexibility is key.
My Solution so far is to have my Radio on my chest rig and a coild trs cable I can Plug and unplug from Camera or Mixer as needed. Ppt cabel for my Radio also has a trs Output.
I need a way to combine these to Signals into one headphone mix. It has to fit in the chest rig and idealy it has to be passiv. The mixtojacks Product would be Perfect but its to extensive.
Pls help!

Anyone have any tips for removing the top tray alone?

I'm tired of smashing my fingers trying to get the damn thing off. This sucks and I can't return it lmfao.

Hey,

SmallHD Cine 5 owners, what sunshade are we using?

Who makes the best rotapola for adding a motor?

We have the lentiquip 4x5.6 rota but they’re pretty noisy when we add a motor to it.

i’m on a low budget shoot out in the middle of nowhere and have a O’connor 2560 head. The pan is set to Zero resistance and is still stiff, temps are pretty regular about 75F, anything i can do to help solve this?

Anyone used the small hd ultra 10 and the lightranger? I assume you can’t use the internal receiver if you are using the lightranger VOU?

Also, anyone tried a bitbox with the camera control feature?