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Found 15 results

  1. "An unsteady camera used to be lambasted as the shoddy workmanship of a bad director. Now, hacks jerk the camera around to up their artistic credibility and are praised for a “realistic” approach." Shaky Camera's article "The other day I watched Man of Steel on Blu Ray, and I was really struck by how shaky all the camera work was. I realize this is the modern “hip style.” But personally I can’t imagine how people sat through this film on the big screen without getting nauseous. Can anyone explain this to me?" Modern look of shaken camera
  2. SeanMAC

    Camera Hops

    Let's talk about it! What setups do y'all use? What cameras have give you the most headaches? Timecode/scratch/mix? How do you tackle it?
  3. Simultaneously shooting movies whist fighting climate change!
  4. Quick question here because of some advice I overheard. I do a lot of 1 and 2 Camera interviews for broadcast, and normally I use a 10 pin snake connection to a 664. I listen to return coming back through the snake, but a much more experienced sound man suggested I start listening to return through a separate 3.5mm extension cable going directly to the camera. His reasoning was that the mixer could have setting where the return isn't true. Does anyone else do this? Anything to add to the reasoning or is it overkill?
  5. Chapman Leonard’s brand new camera Dolly, the Hybrid 4 continues the evolution of a design process that reflects the unique knowledge and experience, acquired by building class leading grip equipment for the film industry for over fourty years and it is now available from Chapman UK.
  6. Check our demo video: Hydrascope Camera Crane filming from one boat to another!
  7. It could just be these O'Connor fluid heads, the operators, or camera gear being older, but I've been noticing the clicking noise from the camera operators unlocking and locking the fluid heads on the show I'm on. It's the pan and tilt latches Has anyone else started to notice this annoying snapping sound?
  8. Hi all UK soundies. Does anyone know where I can hire a camera hop (Zaxcom, lectros or Wisycom etc) with all the cables and 'V-lock' mounting system. I would prefer Zaxcom (but not with TRX 900/STA combo) as I have experience with this but totally open to any suggestions. Looking for a week's hire in the week starting 5th of May. Any help would be appreciated. Thanks, Will. w dot planitzer at ntlworld dot com
  9. Hi wonderful JW members! It's been a little while since I posted on here and I wanted to start by thanking everyone for the wonderful resource this forum is. I want to start a conversation about the pros/cons of small portable recorders to be paired with DSLR or other cameras for lower budget or "one man band" type shoots. I'd love to hear people's opinions and experiences with recorders in this market. Specifically I am thinking of 3 recorders that are out right now: The Tascam DR-60D (which has a great thread started by Tom Duffy and a review by Ty Ford ), the Zoom H6 (which has a s
  10. Hello friends, I have an SRB with all of the optional attachments, and I am about to build a d tap cable. Unfortunately, I am completely inexperienced with using a d tap to power anything. Does this connector exist on the camera or the battery? Should I expect that camera will be using d tap for something else and be prepared with some type of splitter? If it helps, I am preparing to connect to a Sony F5 which doesn't have the slot for an SRB. Related question: What if I am on a camera that has neither a slot nor a d tap option? Does anyone make an external power supply for the S
  11. I've been thinking about purchasing a small lighting kit- maybe an Arri kit, or/and some LED light panels- just a basic interview package. The plan being that if I'm hired as sound mixer on small ENG shoots I can offer these as extra equipment for rent. On these two man jobs I often end up helping the camera op set up lights anyway. I think could be useful especially to producers who fly in from out of town to do a few quick interviews and fly out right afterwards. I could offer a basic lighting package saving them from bringing heavy lights on the plane, or having to figure out getting
  12. Just saw the announcement for this release: http://microsites.lo...y.com/lomokino/ much more a fun camera than a pro. But I always like to see these 'new' retro-innovative concept. It's refreshing compare to the "watch, I got more pixel, better sensor than you" type attitude. 144 frames is pretty limited, but might force you to be creative on how to combine things. Synching this with sound is going to be tough though!
  13. Hey Guys, I have been reading a lot of previous threads about camera hops but couldn't find one with people who have been using 2xLMa for TX and an SRa for a hop. I understand the range difference is the main issue with the LMa only providing 50Mw of RF power. But for the price difference I would love to get some opinions from guys who are currently using this set up in the field and are you finding that the 50Mw is providing a reliable enough signal or are you finding yourself hugging you camera guy to avoid dropouts. Thanks in advance,
  14. Got thinking about it be soundslikejustin's post: "A timecode slate, if required, is the property and responsibility of the sound dept, but is used by the camera dept. A traditional clap slate (at least on the jobs i work on) is solely the responsibility of the camera dept. " Why is this? I my mind, if there is a piece of equipment that is used constantly by the camera department, it should be the camera department's. I realize that sound is responsible for timecode, but does that mean we should have to bring the camera dept a slate to use and abuse? I worked on a Union show where A
  15. A few reports from users in the field on odd gain staging from the d4 into camera. Line level too quiet mic level too hot aes lines up quite nicely any thoughts? opinions? suggestions?
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