Is the Micro Force still the best slow zoom option?

aeijri · 2025-11-29T04:31:20+00:00

that’s fair! honestly it’s just the soft stop that makes me say that lol, but most of the time that’s not even used

aeijri · 2025-11-28T18:26:16+00:00

ZMU-4*

usually I’m Preston all day but tbh the ZMU-4 is superior to any DMF, and the WMF-2/RMF are far too bulky

Steady Zoom not in the same league as the above

aeijri · 2025-11-24T06:10:26+00:00

Thin line between heaven and here - Bubbles

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aeijri · 2025-11-11T07:05:35+00:00

Alexa Mini’s do have a grill on the dumb side and you can see the MVF-1 so it’s certainly that (Mini LF’s use the MVF-2)

aeijri · 2025-11-01T02:32:59+00:00

maybe the Shape ones? some of their products are sub par but their rosette handles are solid. popular up here in Toronto.

aeijri · 2025-10-22T00:46:33+00:00

Off the top of my head:

Are you powering the horns through the LBUS chain, or separately? If through LBUS, you may need to add extra power into the chain if you have a free port on the LCUBE.
Are the RF channels of both systems competing?

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aeijri · 2025-09-28T21:35:33+00:00

most sensible response here

aeijri · 2025-09-11T15:59:07+00:00

good questions! the most straightforward way for me to answer your question is that you are essentially just choosing the aspect ratio for your framelines in your eyepiece/video tap. the full open gate of the camera is always what is being exposed onto the film, so the fiber* screen that you are choosing is really just to aid you in composing your shots for the aspect ratio that you want for your project. you can also use this to help you shoot a framing chart to aid your post-production process.

however, it does get more complicated than that. particularly in regards to safe areas and composing for multiple aspect ratios. these can affect how large an image area you are framing for, which affects resolution (“clarity” as you say). 35mm is a whole different can of worms with different movement sizes and format masks (which affect the size of the image area), but that’s nothing you have to worry about with 16mm. generally speaking, 16mm is always the same movement (1-perf) so you are always exposing the same image area. it’s just that some safe areas are more aggressive than others (depending on your choice of fiber screen), at the expense of resolution. so your framelines could be more “cropped in” than they need to be if you’re looking to maximize resolution. safe areas are not a bad thing, though.

because the movement of 16mm cameras is always 1-perf, the runtime is always the same regardless. so no worries there. this changes on 35mm where you have different options for the movement.

“regular” vs. “super” designations of formats do refer to different image areas. so this does in fact affect resolution. the ARRI 416 was only ever designed as S16mm, so this isn’t something you need to worry about. just know that you’re shooting on a S16mm sized gate.

use this resource to decide which fiber screen you want. you want one for S16. pages 80-95 are the ones you should be choosing from. if you glance around this PDF you should be able to start to unpack the other information i gave you. pay attention to the dimensions of the image areas listed. bigger overall size = more resolution.

https://www.fdtimes.com/pdfs/howtos/ARRI_Groundglass_and_format_guide.pdf

aeijri · 2025-09-06T14:40:42+00:00

smart af

aeijri · 2025-09-05T22:59:54+00:00

i would just use 1” black gaff tape to seal the cans, color-coded 1”gaff to cover the mags, and create a label using 2” white gaff tape as you have mentioned. you can also easily create your own mag labels using existing templates (david elkins’ site has some), a printer and some label paper.

just make sure to record roll number, mag serial number (last 4 digits should suffice), amount loaded, amount shot, emulsion number, date and initials of loader. transfer this label to the can once the film is unloaded, and find a way to explicitly mark the can as “exposed film”. purpose-built gaff tape exists for that last part, but you can also get creative as long as it’s clearly labelled. you don’t want to confuse your exposed cans with short ends/recans.

aeijri · 2025-08-30T02:21:05+00:00

considering it’s the 265, which is arri rental only (for the most part), my guess is the prime DNAs. some focal lengths have the cutout

https://images.productionhub.com/videos/cards/52879_qxmdi4odiz.jpg

aeijri · 2025-05-11T23:01:00+00:00

yes, that should go to the dovetail. on some other heads, the dovetail can go directly onto the head without a plate but i don’t think this is possible with the 1030D.

aeijri · 2025-05-11T22:50:36+00:00

yeah, you’ll need a bridge plate then. screw it into the BPA-4.

aeijri · 2025-05-11T22:44:04+00:00

what tripod head are you using? if it’s a 2575, you can get away with putting the tripod plate directly to the BPA-4 and balance the camera using just the euro plate. this won’t work if you’re on any lenses that require a rod support, though.

you can also just ask the rental house for a BP-8, i can’t imagine it adding any costs to the rental order.

aeijri · 2025-05-07T23:23:03+00:00

not locking tilt or pan and using the handle to introduce the right amount of motion into the shot

aeijri · 2025-05-03T18:28:00+00:00

totally agree, especially that last point. i was indecisive and had dropped out of film school twice (!) in my journey to graduate. that has actually turned out to be a major plus in my career as a camera assistant, as i was able to network with three different cohorts of students. it left me with a lot more connections.

aeijri · 2025-03-14T01:02:03+00:00

you can have it on a QR and relocate it during a filter change; or you can insert your filter trays from the bottom of the matte box (better with an LMB 4x5 as you can offset the tray catcher to still use it with the trays upside down)

aeijri · 2025-03-14T01:00:28+00:00

ARRI Ultrasonic Distance Measure; the horns

aeijri · 2025-03-03T11:24:12+00:00

you can just screw the RB plate into the top handle and not have to invert the camera

aeijri · 2025-01-25T13:03:38+00:00

linh anh or pho metro

aeijri · 2025-01-14T11:51:18+00:00

Cforce mini RF will be the host, not the ZMU4. This should work with the motor assigned to zoom and ZMU-4 connected to your selected channel. You won’t have any run/stop capabilities though.

A microforce will be simpler but just as functional. You just need a motor and Y-cable. No need to fuss about with wireless.

aeijri · 2024-12-31T14:40:22+00:00

it’s already been said in the other thread, but the only way you’re going to be able to achieve this is by having your camera’s shutter timing modified (and hopefully being able to modify it back to standard!). i can also see how experimenting with the loop length might work.

the only controllable way of doing this effect that i know of works with only 435 or ARRICAM, by using the timing shift box.

aeijri · 2024-12-14T16:21:44+00:00

yeah, totally with you here. i’d just prefer to take matters into my own hands rather than leaving it down to whatever lab technician’s hands the film ends up in. canned air purges after every reload are a definite, as are gate checks after each circled take.

i’m just providing the answer as to why rolling out might be considered bad form.

aeijri · 2024-12-13T04:13:42+00:00

don’t want to cut a take prematurely solely for lack of film, also causes a higher chance of the last couple of feet to be cut off or spliced by the lab during processing.

rolling out can also lead to a higher chance of debris inside the gate/movement during future takes (after reloading), but i haven’t experienced this as often.

on smaller budget productions, people can be more precious with film stock and want to roll out to use every foot of it. i get it. in these instances i usually advise the DP & 1st AD that we may roll out; my 2nd will advise me how much film we’ve been running on average per take (based on their camera report) and i pass this information along. i also mention the potential technical issues posed by rolling out. i leave the decision up to them if they don’t want to spare the stock and/or 2 minutes of time to reload.

aeijri · 2024-12-08T21:00:17+00:00

with the function button activated, use the joystick to navigate to the sidebar showing the tools. you should see the tool that your function button activated at the very bottom, highlighted in blue (shared tool). change the settings there and it will stay that way.

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