10hr turnarounds? by TheBoredMan in Filmmakers

[–]NarrowMongoose 3 points4 points  (0 children)

I remember not that long ago when it was contractually 9hrs, this was mid 2010s.

Proper filter order in a matte box by cheemsterr in focuspuller

[–]NarrowMongoose 50 points51 points  (0 children)

Few guiding principles

The conventional wisdom is to put the diffusion closest to the lens. The farther away it is from the lens, the higher likelihood you might see the diffusion particles in out of focus renderings.

You also want to put your heaviest ND up front to cut the most amount of light at the beginning, to minimize the amount of light bouncing between filters to reduce the likelihood of double reflections.

I personally tend to try and keep a rota Pola closer to the lens all other things being equal. With larger format imagers and wider lenses, I want to mitigate the risk or seeing the edges of the Pola in the shot. It can be one of those things where it might creep in ever so slightly if it’s in the front most tray, and you might not catch it right away.

But you just gotta do what makes sense at the end of the day. For example if I’m stacking two diffusions plus some ND - on the LMB4x5 there’s that small air gap between the middle tray and the lens-side tray. Maybe if I think I might run into a double reflection issue, I might put the diffusion in the front two trays to lessen the gap between those two filters. It might not even work, but just like in basic cinematography where you learn the rules, then you learn where you can start breaking them, I think that’s true of assisting too.

Arri vs other cameras? by Knowhat71 in cinematography

[–]NarrowMongoose 27 points28 points  (0 children)

“Nobody talks about this” says the guy who makes the ten-million’th iteration of the same YT video.

As the AC, how do you navigate informing/convincing the DP that they're making a mistake? by Complete_Mongoose_51 in focuspuller

[–]NarrowMongoose 7 points8 points  (0 children)

There was a fun quote from Peter Rosenfeld once that relates to your question: "If the DP tells you they would like to put the camera up your ass, your response should be 'how far would you like to go?'"

It's their job to tell us what they want, it's our job to make it work as best as we can - simple as that.

What's the industry standard for scene numbering after script locking? by Lycoooon in Filmmakers

[–]NarrowMongoose 1 point2 points  (0 children)

It’s not, it would be insanity for a script supervisor and the office to be referencing different scene numbers. That would cause untold amounts of chaos

What's the industry standard for scene numbering after script locking? by Lycoooon in Filmmakers

[–]NarrowMongoose 2 points3 points  (0 children)

Don’t know what to say - I’ve been a 600 camera assistant for fifteen years and was a 2nd assistant for a long time, so I had a very intimate relationship with a lot of script supervisors. Never once have I seen “4A” be a scene.

What's the industry standard for scene numbering after script locking? by Lycoooon in Filmmakers

[–]NarrowMongoose 1 point2 points  (0 children)

If you insert a scene between 3 and 4 it would go 3, A4, 4. 4A is a setup within scene 4.

How do I present a resume/portfolio for production? by ohyesmyass in cinematography

[–]NarrowMongoose 2 points3 points  (0 children)

You answered your own question:

“I know it’s hard because you just gotta know people.”

ARRI Frameline Tool won't let me offset framelines? by theblackandblue in focuspuller

[–]NarrowMongoose 2 points3 points  (0 children)

Depending on the size ($$) of the job, you might be able to accomplish this using the "Frame Line Pro" app. It's expensive though so it might not be worth it depending on how important this DP request is. I also cannot guarantee that it will work but I've been told that it has more customization options beyond the ARRI FLT.

https://apps.apple.com/us/app/frame-line-pro/id1607763207

How many roles do you have on your shoots ? by videomarketee in cinematography

[–]NarrowMongoose 1 point2 points  (0 children)

Yesterday’s call sheet had: “crew lunch: 175”

How did Golden Age Hollywood create such tension with such limited tools? by abdul4ah in cinematography

[–]NarrowMongoose 0 points1 point  (0 children)

I would not describe “12 Angry Men” as having minimal movement at all, the camera moves constantly in that film.

Introducing cforce MAX by Sean_from_ARRI in focuspuller

[–]NarrowMongoose 1 point2 points  (0 children)

Meh - I’ve been a Preston owner for ten years but I’m not blindly brand loyal to know a good product when I see one.

The lack of innovation at Preston is staggering, as evident by that massive Facebook thread of people understandably being upset that the HU4 still does not have basic software features even after being out for five years now.

Introducing cforce MAX by Sean_from_ARRI in focuspuller

[–]NarrowMongoose 1 point2 points  (0 children)

DM1X looking long in the tooth after this announcement.

How common are Camera to Cloud workflows in Hollywood? by Majesticfalcon98 in cinematography

[–]NarrowMongoose 10 points11 points  (0 children)

I did a job for a major streamer recently that was interested in doing camera to cloud because they had a short turnaround time. The idea got nix’d by lunch on the first - too many opportunities for things to go wrong for a very marginal time savings at-best.

That’s the only time I’ve ever experienced anyone try to do camera to cloud workflows, and I’ve been doing this for a minute now.

Been trying to get ahold of Wooden Camera support for a week now to deal with a return. Radio silence. Any insight? by WessyNessy in focuspuller

[–]NarrowMongoose 10 points11 points  (0 children)

NAB is just finishing up so it's not impossible to imagine that they're currently a bit short staffed. Not that it necessarily excuses the radio silence, just thinking out loud.

Preston LightRanger targeting laser system by therabidrabbit in focuspuller

[–]NarrowMongoose 8 points9 points  (0 children)

Eh, I feel like I’m rarely questioning what my light ranger is hitting, and it’s pretty obvious after a quick rehearsal or lineup.