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Mark Broadbent

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  1. Cinema lenses have distance markings. First time you put them on or new camera you need to check that the distances marked line up with the actual distance. You also need to check that infinity can be reached. When working with any interchangeable mount cameras (or with adapters) there are lots of areas where just the slightest miss alignment can cause major issues to the lens performance. Once these have been check any previous lens mapping should line up with the new setup. This side of things would be in pre. As for on set there are times where the focus puller doesn’t have their own split...this is when simply running a tape is essential. Even if they do it can be re assuring to double check marks occasionally even if they’re running the latest aids like focus bugs etc. Yes, running a tape is rare however there are times where it is necessary and this one little attachment point is very necessary.
  2. Most of the assistants I work with still carry a tape although it's rarely pulled out. More often in pre when mapping lenses for their remote units and checking lens markings for accuracy. Sometime a tape is just easier than laser. As for whether a user of this camera will tape or measure, depends on the use. I expect my assistants will be using them to check my lenses and camera's back focus/mount adapter flange and shim accuracy etc. Admittedly all my lenses are PL so will this type of checks will play more in this world.
  3. I go between x mount lenses for small jobs, and PL glass on bigger ones.
  4. Mine arrived in Aus a couple of days ago. Camera still a few days away however very impressed with how solid the build is while keeping it very light compared to its competitors.
  5. Here are the Redback photometrics. Not sure how the small Mozzie compares as I haven't used it - https://www.hudsonspider.com/photometrics As for configurations I've used it in all kinds. For interviews though if I have the space I'll run it bounced into a 7' umbrella, or in standard configuration. Check out their instagram for a bunch of different uses - https://www.instagram.com/hudson.spider/ Some of the accessories are designed more for gaffer use with various rigging and space for storage however can be scaled back to simply the light head on a c-stand arm.
  6. Another option if it's just carry on would be a Carpetlight. Not cheap but packs down extremely small. https://www.carpetlight.com
  7. Depending on how portable you need, look at the Hudson Mozzie. While the unit and ballast aren't tiny, you won't need any extra grip or frame work. I've been travelling with my Hudson Redback for the last year and regularly all I take is it and one stand. Mozzie is the half sized version.
  8. DXL2 has the same sensor as the Monstro VV so coverage would be the same.
  9. @Erik A., here are some tests I did with my TLS Leica R's on a DXL2, Mini LF and Venice to check coverage.
  10. @Nezih, that's a very good point. I have always had that issue with my Varicam LT EVF mount. Never been able to get it far enough away to operate comfortably when balancing for front heavy package (and pushing camera back).
  11. Great news @Tim - Bright Tangerine, if I do end up with one of these cameras I'll be very keen to check it out and add it to the list. The weight, or lack of is what really excites me about this setup.
  12. Thanks Tim for the info. Will be keen to check it out once available. Juggling act between keeping the shoulder pad low while trying to get it central on the balance front, particularly with a reasonably heavy lens where you want to slide the camera further back on the shoulder. Additionally do you know what viewfinder mount is on that particular rig? On the lookout for options additional to the one the EVF comes with. Anything BT may be looking at? Cheers, Mark
  13. Hi Tim, do you have, or are you looking at any integrated shoulder pad solutions? On the lookout for options that don't take the camera too high.
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