Caitlyn Timberlake

I'll be there Sun-Wed.

Having recently shot super high speed with the FS700, I would just warn you that it will all come out soft. The compression rate on the FS700 is horrible. We were shooting tests on sticks and literally nothing in frame would come up sharp. If you can get your hands on a on board recorder like the Odyssey 7Q I highly suggest it.

I have the Birns and Sawyer one. I've found that some older thicker filters don't fit (mitchel diffusion, 80A, some glimmer glass). I think it's mostly due to it being a trayless system that the filters just slide into. I'm getting ready to take mine apart and see what I can do to make sure it accommodates all 4x5 filters.

I really appreciate the feedback Brian! I built in some tilt to help with the headroom, looking back on it now I think I could have added a little bit more. Dave, I wish that day would come sooner! I'm normally pretty good with anticipating body language in wide shots, but the tighter the shots get the more impossible it seems. Back to line dances for me!

Thanks, Dave and Shawn! I agree with you that the shadows were really annoying! We did one take and then rearranged the lights so it wasn't as big of an issue anymore. Unfortunately the editor used some of the first take. I also have the classic noob mistake of cutting off his head routinely. -_- It's frustrating because I was trying so hard not to! I guess that's what happens when you're (a noob) 5' 4" operator and the singer is 6' and on a 2' raised platform. I've just been practicing for 6' guys, not 8' tall guys!

I used my Zephyr w/ Bartech, 7D, Zeiss ZE lenses, and one of Janice's weight plates courtesy of a member here. The cabling was kinda a pain since I had to go from HDMI to SDI, but I was able to get my hands on a Blackmagic converter that worked great for me. I was kicking myself when I got on set and realized I left the Teradek Bolt on my desk at work. My 1st AC had never pulled focus before and was pulling off the steadicam monitor and trying to judge the distance (you get what you pay for). So personally, I'm just impressed any of the shots were in focus haha!

New operator here: Worked on this music video recently and was pleasantly surprised with how it came out. We had a 4 person crew and from conception to filming was 5 days.

Canon released an update 6+ months ago for the 5DmkIII allows for both the rear LCD and the HDMI out to display at the same time. Menus only show up on the small LCD, but you get picture on both.

Batteries: http://goo.gl/WbYtPY Charger: http://goo.gl/zCaKMd These are the ones I've used.

Thanks for the offer Jess! Someone else already PM'd me about getting theirs.

I've heard lots about the weight plates Janice makes. Does anyone in the LA area have her 6lbs plate I could borrow (or rent) for this Saturday (Nov 23)? The 11lbs one would work, but if I can be picky I'd prefer the 6ish one. Thanks, Caitlyn

As a newer member and starting out operator I tend to lurk on this site purely due to the way I've seen members respond to each other. I try to leave posting to a last resort and do as many searches before asking any questions because of the way I've seen threads turn into flaming arguments and/or rants about how someone is stupid. I don't understand why this forum has an issue with this. I've done two Tiffen workshops and all the ops I've met and worked with (in workshops and out ) have been amazing, loyal, and understanding human beings. I think there are moments of that on this forum, but that it tends to get buried under everything else.

Thanks for all the tips guys! I haven't heard back from the crew at all, so I'm assuming they figured out a way to get what they needed on their own.

I saw the thread about the Hypercam rig and really liked the idea. It looks like a great tool for the job. I doubt production can afford the right tool for the job though. Obviously their quality will suffer, but I'm looking for a safe (but cheaper) option. Right now I'm more concerned with the actual mounting of everything to the front of a vehicle. The Movi is what initially came to mind, but as I understand it the first production models started rolling out this past week. I'll put some feelers out and see if anyone in the LA area has theirs yet.

I will definitely mention the Libra head to them. Is there a scaled down type version of the Libra? They are using a DSLR and the Libra looks like overkill for their build. To give you an indication of the production they've already tried the shot once by simply strapping a tripod onto the hood and driving the road. Obviously that did not work at all and so now they're calling around to see if steadicam could solve the issue for them.

I recently got inquires about shooting a VFX plate shot that is supposed to be about 3 miles of road shooting forward without showing any portion of the car. They're looking to hit between 20-30 mph. I've done shots facing backwards on hard vehicle mounts, but never facing forwards on the car. Does anyone have suggestions for how to rig this safely or have a rentable package designed for such a configuration? Production seems ready to rent a vehicle for attaching a front hard mount system. I'm first and foremost concerned with my own safety...

I've flown the Alexa with Optimo DP 16-42, single channel preston, and clamp on matte box (with filters) on my Zephyr. It came in at 23.4 lbs. The arm still wasn't maxed out, but I quit adding AKS as to not overtax the gimbal. It's definitely not something I would do on a paid gig. In this case I was on set with solid friends who understood the limitations and what to expect.

Plus there's the issue of both the F5 and F55 not shooting 2k until a firmware update that's currently scheduled for September.