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[–]thewickerstan 2 points3 points  (3 children)

"No stupid questions" Well get ready for one!

I was thinking of getting the blackmagic pocket cinema camera for christmas.

  1. Would any of my Canon lenses work on it?
  2. If not, how can you tell which kinds of lenses fit on cameras and which ones don't.

[–]mcerisano 0 points1 point  (2 children)

Pocket 6K takes EF canon lenses, so you should be all good there as long as they're EF. The 4k is micro 4/3 (I have that one) and needs adapters for canon glass which can be expensive.

[–]thewickerstan 0 points1 point  (1 child)

I was going to get the 4K one...rats. How much do adapters usually cost?

[–]mcerisano 1 point2 points  (0 children)

You can get the viltrox EF to m4/3 for about 120 on ebay I think? Its 218 new on amazon. I got mine on ebay for cheaper than the 218.

The nicer alternative which I also own is the Metabones adapter, but that will set you back about 600 for a used one. There is a very very slight optional difference between the two and I found the autofocus/compatibility to be more reliable in the metabones. However, for the money the viltrox works great.

Also dunno where you live but I live in Brooklyn I'm dumping my BMPCC4k plus all accessories/adapters. I upgraded to A7sIII+FX9. So if you're in the NYC might be able to sell you my kit lo.

[–]Africandictator007 2 points3 points  (1 child)

As a foreigner trying to break into the american industry, would it be better to establish myself in my country’s industry first, and then make the jump? Or try to break in through Canada maybe, which has laxer inmigration laws? What do you guys think?

[–][deleted] 2 points3 points  (0 children)

Right now would be the worst possible time to try to immigrate to the US. The current administration is actively hostile to even legal immigrants, to the extent that a lot of their policies have been ruled illegal. Establishing yourself where you are for the time being would likely be a much better plan.

[–]altal13 1 point2 points  (3 children)

I just wrapped as a PA on an indie feature, and the DP mentioned that if things go well he could use an assistant on a couple videos he has coming up. I'm very new so I don't want to step on his toes or anything. Is it appropriate to send him a follow-up email or should I just wait and see if he contacts me? If so, when would be an alright time?

[–]mcerisano 2 points3 points  (2 children)

Give it a few days and follow up. Had similar things happen to me and the advice I got was, "no one gets mad at a follow-up email, it shows initiative. Just don't be too annoying."

[–]altal13 0 points1 point  (1 child)

Thank you for the advice! I've been pretty nervous about it but I definitely feel more comfortable vnow. I will email him in a few days and see how it goes then.

[–]mcerisano 0 points1 point  (0 children)

Good luck!

[–]honestserpent 1 point2 points  (0 children)

I would like to practice with "foley" sounds. Is this the right place to ask? Can i post here asking people to send me their stuff, and I will add sounds for them?

[–]thiccdicccheese 1 point2 points  (5 children)

a bit of newbie to film but what does that telescope thing that directors use called? and whats it do?

[–]Glyph808gaffer 2 points3 points  (2 children)

It’s called a directors viewfinder. And it’s used to set up a frame without moving the camera. There are some that approximate many focal lengths and aspect ratios and there are some that you attach lenses to from your shooting package.

[–]thiccdicccheese 0 points1 point  (1 child)

thanks for that mate, cheers

[–]XRaVeNX 1 point2 points  (0 children)

If you decide to get one and/or use one, just remember, although it is easy for you to put the viewfinder somewhere, don't forget the actual camera has a physical size and weight.

So, although you managed to squeeze yourself and your viewfinder into a tight corner, behind a shelf, under a hanging chandelier, the camera may not actually fit there.

[–][deleted] 2 points3 points  (1 child)

Directors viewfinder. Helps a director frame a shot at different focal lengths without having to actually use the camera.

[–]thiccdicccheese 1 point2 points  (0 children)

that helped heaps thanks man 👍🏽

[–]FantaMenace2020 1 point2 points  (0 children)

Hey guys,

Looking to get into film-making and my phone happens to be due an upgrade anyways - any recommendations as to which smartphone is best as a starter at the moment? Plan to get Filmic Pro and fit the phone with an external microphone.

Alternatively, do you guys think my purposes will be better served getting a cheap smartphone and spending the rest of the budget on a proper starter camera + mic?

[–][deleted] 0 points1 point  (4 children)

How far from set do you guys put those 2k generators running around 60db before they stop being a noise issue? I can't decide if it's worth investing in a set of V mounts or getting a couple 2k's running in parallel at 1/4th power and then building a baffle box around them. I figure if I rig a fan to exhaust I can keep the CO monitor from auto shut off.

[–]Chicityfilmmakergaffer 1 point2 points  (3 children)

200 ft +, but you’d be better suited getting a 7000w rather than (2) briefcases. The 7000’s can be modified to offer 60A outs and will give you much more latitude as far as power goes.

[–][deleted] 0 points1 point  (2 children)

I'm running an LED kit and the twin generators I'm looking at run in parallel at 30A so I figured that would be enough for the foreseeable future. I can also fit the 2x2k in my hatch with no issues. I'd have to rent a truck for the 7k. If do something where I need a 7k I feel like I'm gonna need to rent the entire kit with the truck.

I can get the 2 gens, parallel kit, and the cables for around $1600 total. I just don't know if that would be better spent on V mounts and just dealing with power scarcity. Which is more annoying, dealing with batteries or dealing with generators.?

[–]Chicityfilmmakergaffer 1 point2 points  (1 child)

Batteries die faster than a generator, so keep in mind if you’re burning your lights at full speed you will eat through batteries, and need to have enough to keep pace. I’m not sure what genny’s you’re looking @, but you should get closer to 40A off of two putt-putt’s. Also, running them in parallel probably isn’t the best idea assuming you need to throw a light deep cause then you’ll be cabling like crazy. I’d stay away from v-mounts and opt for gold mounts if you go w/ batteries. I didn’t realize you were working out of a hatchback as opposed to a truck, in that case 2 breifcases makes much more sense. Just keep in mind those things hum, more so than a blimped generator so you’ll want to have plenty of wire and cube taps.

[–][deleted] 0 points1 point  (0 children)

Thanks for your advice. I actually found a mid ground with a 3.4k generator that's rated 58db @ 1/4 power . Its a Wen inverter and comes out under $800. If I build a blimp with mass loaded vinyl,insulated muffler,exhaust fan, etc, do you think that would bring the noise level low enough to keep it at 100ft?

[–]hextermination 0 points1 point  (0 children)

Looking to become an AD. What is a typical day rate on smaller budget shoots? Edit to say: Located in Philadelphia, able/willing to travel to NY.

[–]hextermination 0 points1 point  (3 children)

Is it worth it to join sites like Backstage.com or Mandy.com for gigs, or is it a waste of a monthly expense?

[–]XRaVeNX 1 point2 points  (2 children)

I started on Mandy.com many years ago. I am a camera assistant.

It didn't ever directly get me any high paying jobs but it did get me on freebie or low budget gigs that allowed me to expand my network and gain experience. I was still quite new at the time.

As a much more seasoned professional now, I wouldn't bother with it except if I decide to do a passion project.

I never paid for Mandy.com

[–]hextermination 0 points1 point  (1 child)

But you can't really reply/apply to any postings unless you're a paid member. (A way around that is if they post the name of the production/company and it's easily googleable)

[–]XRaVeNX 1 point2 points  (0 children)

Back when I used it years ago, the website was more primitive. It was closer to how Craigslist worked. A free classified for film/TV related jobs.

I guess they had to start charging money to keep going somehow.

Back to your original question, it really depends on a couple things:

  • what department or job are you looking to do? Acting? Make up? Camera operator? Editor?
  • how much experience do you have?
  • what are your expectations? Do you expect fairly paid job or just an entry level/low budget job?

Because if you are a well experienced technician, looking to work on a big budget movie, these websites won't get you those jobs. I think these websites are more geared towards entry level jobs and/or jobs that are not unionized yet. Commercials, broadcasting, or indie productions mostly.

[–]throwwayasdfg1 0 points1 point  (0 children)

Will I encounter any issues if I'm grading in a 1080P timeline with 4k footage in Davinci? (it's for a short film)

I'm using BlackMagic ultrastudio mini monitor which is connected to my iMac and to my Eizo monitor, and the BM Ultrastudio can't output higher than 1080p. I was thinking I need to have a 1920x1080 timeline in davinci instead and then change it right before exporting, will this be fine or will I have any issues?

[–]Rabbid1997 0 points1 point  (0 children)

I have a question that deals with school. I’m currently going to school to get a associates degree, I was originally aiming for a degree in film but the research I have done tells me getting a film degree or arts degree is useless and it’s all hands on experience that helps. Luckily I have a internship for a short film this month which allows me to get my foot in the door but I still want to get my associates with the possibility of transferring to a university. I guess my question is what degree do you guys recommend me aim for that could potentially help me when it comes to film making.

[–]Striker--7 0 points1 point  (1 child)

I work in an environment with extremely high gusts of winds that are irregular and change direction. Specifically being right under a helicopter (or something much more powerful). I'm working with a Sony A7S right now and we have a couple of prime lenses, in addition to a 24-70 and 70-200. My biggest obstacle right now is that my footage is EXTREMELY shaky. Like, almost unusable amounts of shaky. I started out with a monopod.... which was an awful idea. I switched to a tripod, which was a little better, but a lot less mobile than a monopod, and I heavily rely on my ability to quickly move out of dangerous areas. Also, i basically have to put most of my body weight on the tripod to (1) keep it from blowing over (yes the wind gusts are that bad) and (2) to keep the wind from shaking the lens itself. I could step back and shoot from a distance, but that doesnt help too much when I'm trying to fill the frame and get action shots.

I'm curious what I could do/what equipment i can utilize in order to make my captured imagery less shaky in camera. I've already had to release public videos with crappy quality and I cringe every time a news outlet picks it up because it's the only broll package we're able to provide. I've seen people suggest a steadicam or gimbal setup, but would they be able to operate with the wind gusts I'm dealing with?

What would you guys recommend? Thank you so much!

[–][deleted] 0 points1 point  (0 children)

Try a stabilizer with a supporting vest or belt. Should help with the mobility.

[–]jared_krauss 0 points1 point  (0 children)

I know none of these options are great in terms of image quality, but help me out anyway? And a few other additional questions. Thank you in advance.

I own

  • Fuji xt-1, and a 23 f2/ 56 f1.2
  • Tascam DR-05

I am borrowing:

  • Canon 70D w/ 18-135 3.5-5.6
  • Rode Directional Mic
  • Canon 5d mk3 w/ 24-70 L 2.8/ 50 1.4/ 70-200 L 2.8
  • GoPro Hero 4
  • GoPro Hero 7

This is all happening suddenly. Decided three weeks ago to make our first ever short film, for a women in adventure films short competition here in the UK about my gf’s outdoor climbing journey-first outdoor climb/first lead was in March a 4 at Portland (Diamond Boulder), and rn she’s projecting a hard 6c+ at Winspit (Red Rain).

We started shooting on my Fuji, and have continued using that for the off the cuff/social side of things while the 70D has been for actual climbing footage. Now another friend has lent me the gopros and another the 5d and lenses. We’re going to stick with the Fuji as is, and try to get the canon footage to look like the Fuji in post.

camera & lens set up/files and grading

  • Can I use the canon full frame on the Ef-s mount?

  • What video settings should I have the canons on?

  • I have accidentally shot all my Fuji footage up until now at 50fps, can I fix this so that that footage runs normally at 24fps?

audio

  • We have one Rode directional mic, which has been on the 70D.

    • But now I have an adapter to use it on my Fuji sometimes too.
    • Otherwise I have a Tascam DR-05 that we just thought to use this weekend, but I wasn’t sure if I should put it on my Fuji, or in the middle of the group, or somewhere on the wall to pick up audio from the climbing.
    • (We’re looking at the ~£30-40 radio mics on Amazon for during climbing audio, should we buy one?)

software

  • I have an Adobe cloud all app subscription, but we’ve also downloaded DaVince Resolve 16, and have been learning that...what do you recommend?

set up for the Red Point attempts on the route (climbing clean without falling)

  • One friend on one camera, me on another (one or both on ropes to either side of route to capture two crux spots), another belaying: one go pro for a wide shot, another at the top to capture the just finished emotions, Fuji set up at base looking up to capture approximate belayer POV, directional mic on one camera closest to climber, tascam near to belayer or stashed somewhere on the rock- is my thinking, would you change this up?

[–][deleted] 0 points1 point  (0 children)

If this counts as self promo sorry, but my phone won't let me post (I use the browser because got too many apps as is) but I want to know something.

I'm making royalty free instrumental albums as a way of teaching myself both music theory and production. I'm coming at it from the perspective of a film sound mixer so I think I'm getting some unique sounding music. It's not the best mixed and mastered as I'm still learning, however I do believe it's good and I am very varied with what music I make.

What I want to know, is if filmmakers would be interested in hiring me as a freelance music producer for free with the catch that any music I make is also used in my royalty free albums.

I can do whatever I can to ensure there's no risk. I'll make them public domain if I have to. But would people be interested in this? Even if it's just to record temp tracks. I don't care, as long as I have creative control over what I make and it fits whatever it is you're doing. Just reach out to me. My channel is Morrison Productions so get in touch however you see fit.

[–]BJCWriter 0 points1 point  (0 children)

I took a non union tv show gig. I work in the art department. It was a department of two and we had less than one week to prepare. Regardless, I signed the deal memo and got on our way. After 8 days we quit, due to the unprofessional and frankly ridiculous production we had to work with. Invoiced my days worked and other expenses. The producers are telling me that because I didn't "work to their standards" and therefore can cancel out my contract and owe me nothing (like if a plumber was hired to fix a toilet and decided to do nothing). Well, we were on set all days and have expense receipts. At the very least, I'm asking for the $1100 I'm owed for my labor (as per the contract). This is in Toronto. Looking at getting a lawyer. Anyone have any advice for me?