Date   

Re: Teaching ACing

Daniel Colmenares
 

Sounds like a good curriculum, I would like to throw in my two cents and say


Prep - it's the most important part of the job. 
How to properly prep a camera package.
How to check lens back focus
How to set up wireless follow focus systems, wireless video systems.
How to set up the camera for multiple set ups (tripod, handheld, steady, specialty (gimbal, car rigs, etc)
How to label everything (slate, camera, media, filters)

For on set - really emphasize thinking ahead (power, media, sticks, lenses, filters should always be near camera on a cart or on a go bag). Active listening to the DP, and the proper way to change lenses quickly and safely (slow is smooth smooth is fast). 

Also please emphasize respect and comraderie towards other departments. I still AC quite a bit and I will chew out any second that brings the "camera dept superiority complex" to my set. In particular with the sound department. The sound mixer is a dept head and should be treated with respect. 


Re: Teaching ACing

Mark Sasahara
 

I forgot to mention: The most precious commodity on a film set is TIME. The faster and more efficient you are, the more time there will be to shoot.

-Mark Sasahara, DP, NYC


Re: Teaching ACing

Mark Sasahara
 
Edited

Hey Souki,
 
I've been working with some young guys and try to pass on my knowledge. Here are some things:
 
 
Teach them to have good Set Ears and stay off their phones. Be listening to the DP and Director. Be prepared to act. You shouldn't be standing around with your hands in your pockets. Unless the camera is rolling, there is probably something that you can be doing. 
 
Congratulations, you're in sales! The product is you! 
 
Talk to each other. Communication is key. Nothing worse than not being ready when action is called, or not being in sync w/ the team. That said, don't be yelling across set, or talking over people. If possible use comms, or walk over to that person and let them know. Especially if the client is there. You don't want to be yelling to the DP/Director, "Hey man, you're a stop over!" 
 
 
This is more than just knowing about cameras. It's knowing how to be, who to be and understanding your place in the food chain. Have outside interests, sometimes that can be helpful in getting a job, building relationships, etc. Be three dimensional. Being a movie buff helps. Lots of things to watch, in order to learn the language of film and enjoy.
 
No plan survives contact with the enemy. Be prepared to punt. 
 
Say "Yes" and then figure it out. Fake it 'til you make it. That can work most of the time, but also recognize when you're out of your depth and maybe pass, or suggest another person. Sales!
 
Which leads to don't be a dead end. Be able to suggest at least one other person that the Production Manager can call. They will appreciate it and maybe, they might remember that you helped them. Sales!
 
Positive attitude and never stop learning. There is always more to learn, on every level. Keep your eyes and ears open. There is always more to learn about, tech, the biz, relationships, how to interact, logistics, Sales! Etc. Watch what the Adults are saying, doing and how they're acting. Set dynamics.  
 
Learn to estimate distances. Are there things like tiles, or panels you can measure and then calculate longer distances? Knowing how long your arm length is, shoulder to fingertips. How long are both arms stretched out, legs, stride, etc. Use a tape measure and start to stand x number of feet from something, to get an idea of distance. Try a few different distances.
 
Be fast, efficient and friendly. 
 
Is it ok to talk to the talent? How do they like to be addressed? If you are slating, talk with the folks in your department and find out if it is ok to have the slate in front of their face, to the side, closer to camera, etc. Slating etiquette.
 
Be able to quickly call and mark a slate and have it be heard by sound and seen by camera.
 
Have info like manuals, apps and charts on your phone, but the catch is to not be on the phone. Hopefully, you've already read the manual. Maybe let folks know you are reviewing info. If you are trading emails about a job, let people know and let the person you're communicating with know that you're working and that replies may not be instantaneous. Maybe wait until lunch to continue.
 
Lift w/your knees, not your back.
 
Ask the person if they need help, don't just jump in. That's how fingers get crushed, or broken and other bad things.
 
RTFM
 
If you fuck up, quietly let the person above you know. For example if you buzzed the focus let the Operator, or DP know. They'll ask for another, or maybe it's up to you to ask. Don't be afraid to ask for another take. 
 
Dress professionally. I'm old school, I wear a shirt with a collar. I like boots, or trail shoes for better support. I know holes in the jeans are popular, but my theory is that we're professionals, look and act like one.
 
Own Foul weather gear, like a rain suit. Sun gear, hat, sun screen/block, etc. Make it a habit to always check the weather for the location(s). 
 
Which leads to Equipment covers. Have a space blanket and some clips, Bongo Ties and bungees help, or various other plastic camera/gear covres. Or, a couple of good ole trash bags.
 
Be thinking ahead, what's needed next? Are they going to call for a new lens? Turn around? Go to dolly, etc.
 
PPE: in addition to COVID protocols; safety glasses and good ear plugs 3M Tek is good. Something with a case and string that connects the plugs lets them live on you, when not in use.
 
Have a basic AC kit: pouch and belt; Lens tissue, Pancro, microfiber lens cloths, markers, Sharpie, ballpoint pen for paper work, a slot edge screwdriver for tie downs, gloves, multi tool, tape measure, L shaped SAE and metric allen keys. I have a mini set that lives in my pouch, in addition to a regular sized set. Maybe Torx 9 & 10 in addition to a Torx set. Plus a lot of colored tapes, spike, Gaff, etc. Laser tape measure is also good. Leica Disto is best, probably Stabila too, also German. Bosch is a good lower cost alternative. It's best not to point a laser at people. If you must, point at people's feet and ask them to close their eyes. Be sure it's pointing down, when you turn it on. 
 
They should also learn the ways of Lighting & Grip and basic DIT/Data Wrangling. Possibly sound too. On corporate shoots, I am often doing sound, so knowing that and how to hide a lav are invaluable. Crews are often so small, that everyone is doing everything. Plenty of video on YT and tons of websites, etc. Lots of good books, too, Set Lighting Technician's Handbook, The Grip book, etc. Dave  David Elkins' AC Book, Stumps's Cinematography book, the ASC Manual, etc. Evan Luzi's https://www.theblackandblue.com/ . There's new stuff up, including a mssg from Jennifer Garner to AC's.
 
That's all I have at the moment.
 
-Mark Sasahara, DP, NYC
  marksasahara@...
   718-440-1013
    http://msasahara.com
Sorry for accidentally double posting. I deleted the previous post, since there were typos and I added some stuff. -M 


On Fri, Sep 4, 2020 at 10:09 PM Souki Belghiti <soukiac@...> wrote:
Hello everybody.
Hope everyone is well in those trying times.
I am supposed to give a class on ACing soon. (5 days)
_._,_._,_


 

 


Re: Teaching ACing

Andy Hoehn
 

 Souki Belghiti
Sep 4   
 
"I am supposed to give a class on ACing soon. (5 days)"

Are you teaching this in 5 days or is the class 5 days long?  I would stress to them that there's so much to learn in the camera department.

Let them know it takes years to become proficient at each position and they shouldn't expect to be a Digital Utility or Loader for a few months and then move up to being a Second Assistant.  Or a Second for a year and then move up to pulling focus.  The more you learn and the more experience you have the better you can do your job.

I've been a First Assistant for 30 years and I've always felt that it take 5-7 years of pulling focus to become a qualified, proficient First AC.


Andy Hoehn
First Assistant
Atlanta, GA


Re: Teaching ACing

Roy H. Wagner ASC
 

I personally believe a first class should be about set procedure. Why there are various assistants. What there job description is. You should teach the hierarchy of the original system which started in the camera loading room (before you EVER were allowed in a set). What a loader is, a camera tech (which began with Technicolor and is how we established the “tech rate”. How all functions go up the “chain of command”. I know it sounds old fashioned but it’s an incredible way of having a long career. Set politics between the assistant and other crew members; especially department heads, actors, director, assistant director, producer and director of photography. 
You can be the finest assistant technically but if you fail set grace you will not survive. 
After that I think understanding how to prep a camera, what to look for, how cases are assembled, the importance of closed cases. Why an assistant should find the sweet focus spots on a lens - especially anamorphic. How to clean a lens. What the various cables do. Light Measurement and how it relates to the lens. Of course depth of field. The importance of proper “lab” reports. Assembly of a camera. Protecting for flares. The importance of data wrangling and how critical that interface is between production and post. 
So many things to know. I don’t envy you. 
Roy
Roy H. Wagner ASC
Director of Photography
Honorary Fellow Royal Photographic Society
AMPAS, SMPTE
(310) 614-8362
rhwasc@...

On Sep 4, 2020, at 10:30 PM, Daniel Henríquez-Ilic <dhisur@...> wrote:


That sounds like an interesting class.
I would suggest adding an exercise (sequence shot) on film,  with one cartridge of 50 feet of Super-8 with Vision3 200T or 500T
color negative stock (or on a reversal stock), if possible.

Here's a free app from Kodak (available for both iOS and Android operative systems) that features a depth of field calculator:

All the best,
Daniel Henríquez Ilic
Film Cinematography
Santiago de Chile


El vie., 4 sept. 2020 a las 19:09, Souki Belghiti (<soukiac@...>) escribió:
Hello everybody.
Hope everyone is well in those trying times.
I am supposed to give a class on ACing soon. (5 days)
My plan is a little recap on how the camera department was organized, (first, second, data wrangler and depending on the countries the video assist part or not of the camera team)with each one responsibilities and how to, a little tech recap on depth of field, monitoring and LUTS, the importance of camera tests, and then practical exercises with rack focus, and following people, with different lenses and different stops, first on a tripod, then on tracks and then handheld, while insisting on set-etiquette.
(The camera is an F3, it's the students 3d year, they're about 20 years old with dreams of glory and fortune, and don't know much about the realities of the field, is what I am told)
Does it sound appropriate?
Any other thing you'd suggest?
As always, thank you CML!


Re: Teaching ACing

bjdzyak@...
 

When I wrote my book about every job on a working set, I began writing about the camera department.  The book breaks down every thing the jobs are defined as, what they REALLY entail, what an AC (etc) should wear, what they do every moment of the day, and how to move up to the next classification. 

Available in print and on Kindle!   https://www.amazon.com/What-Really-Want-Set-Hollywood/dp/0823099539/ref=sr_1_1?dchild=1&qid=1599273046&refinements=p_27%3ABrian+Dzyak&s=books&sr=1-1

It should help you organize the class and give a jumping off point for more detail that you refer to.

Brian Dzyak, Cameraman/Author/Screenwriter
www.dzyak.com
Los Angeles
IATSE Local 600/SOC


Re: Teaching ACing

Daniel Henríquez-Ilic
 

That sounds like an interesting class.
I would suggest adding an exercise (sequence shot) on film,  with one cartridge of 50 feet of Super-8 with Vision3 200T or 500T
color negative stock (or on a reversal stock), if possible.

Here's a free app from Kodak (available for both iOS and Android operative systems) that features a depth of field calculator:

All the best,
Daniel Henríquez Ilic
Film Cinematography
Santiago de Chile


El vie., 4 sept. 2020 a las 19:09, Souki Belghiti (<soukiac@...>) escribió:
Hello everybody.
Hope everyone is well in those trying times.
I am supposed to give a class on ACing soon. (5 days)
My plan is a little recap on how the camera department was organized, (first, second, data wrangler and depending on the countries the video assist part or not of the camera team)with each one responsibilities and how to, a little tech recap on depth of field, monitoring and LUTS, the importance of camera tests, and then practical exercises with rack focus, and following people, with different lenses and different stops, first on a tripod, then on tracks and then handheld, while insisting on set-etiquette.
(The camera is an F3, it's the students 3d year, they're about 20 years old with dreams of glory and fortune, and don't know much about the realities of the field, is what I am told)
Does it sound appropriate?
Any other thing you'd suggest?
As always, thank you CML!


Teaching ACing

Souki Belghiti
 

Hello everybody.
Hope everyone is well in those trying times.
I am supposed to give a class on ACing soon. (5 days)
My plan is a little recap on how the camera department was organized, (first, second, data wrangler and depending on the countries the video assist part or not of the camera team)with each one responsibilities and how to, a little tech recap on depth of field, monitoring and LUTS, the importance of camera tests, and then practical exercises with rack focus, and following people, with different lenses and different stops, first on a tripod, then on tracks and then handheld, while insisting on set-etiquette.
(The camera is an F3, it's the students 3d year, they're about 20 years old with dreams of glory and fortune, and don't know much about the realities of the field, is what I am told)
Does it sound appropriate?
Any other thing you'd suggest?
As always, thank you CML!


Re: Cannon R5's available to rent 8/20 - 8/29

Doug OKane
 

Hey Andy
Borrow did have them the dates we needed.
Thanks Tho
Doug


On Aug 18, 2020, at 12:00 AM, chris cove <cecove@...> wrote:

I’m sure this is autocorrect striking again, but “you c puke” is my new favourite put-down. Maybe C-Mount hate? So old school!

Chris

On Aug 17, 2020, at 3:27 PM, David De Souza <david@...> wrote:

I have one Canon R5 you c puke rent. I have the adapter from R mount to EF with the Circular Polarizer and Variable ND. I have a 256gb CFexpress card as well. If you need still lenses or Canon CN-E Primes i can provide those as well.

Best,
David De Souza
561-396-4728

On Mon, Aug 17, 2020 at 6:23 PM Doug OKane <dokane22@...> wrote:
I'm having a hard time finding 2 Cannon R5's available to rent Aug 20 through 29. Any ideas?
--
Doug O'Kane
1st Assistant Camera
Denver CO









--
Best Regards,

David De Souza
561-396-4728


--
Doug O'Kane
1st Assistant Camera
Denver CO


Re: Cannon R5's available to rent 8/20 - 8/29

chris cove
 

I’m sure this is autocorrect striking again, but “you c puke” is my new favourite put-down. Maybe C-Mount hate? So old school!

Chris

On Aug 17, 2020, at 3:27 PM, David De Souza <david@...> wrote:

I have one Canon R5 you c puke rent. I have the adapter from R mount to EF with the Circular Polarizer and Variable ND. I have a 256gb CFexpress card as well. If you need still lenses or Canon CN-E Primes i can provide those as well.

Best,
David De Souza
561-396-4728

On Mon, Aug 17, 2020 at 6:23 PM Doug OKane <dokane22@...> wrote:
I'm having a hard time finding 2 Cannon R5's available to rent Aug 20 through 29. Any ideas?
--
Doug O'Kane
1st Assistant Camera
Denver CO









--
Best Regards,

David De Souza
561-396-4728


Re: Cannon R5's available to rent 8/20 - 8/29

Andy Jarosz
 

Hey Doug,

Looks like Borrowlenses has them:
https://www.borrowlenses.com/product/Canon-EOS-R5-Mirrorless-Digital-Camera

Best,

--
Andy Jarosz
MadlyFX & LOLED Virtual
loledvirtual.com
Andy@...
708.420.2639
Chicago, IL


On 8/17/2020 5:23 PM, Doug OKane wrote:
I'm having a hard time finding 2 Cannon R5's available to rent Aug 20
through 29. Any ideas?
--


Re: Cannon R5's available to rent 8/20 - 8/29

David De Souza
 

I have one Canon R5 you c puke rent. I have the adapter from R mount to EF with the Circular Polarizer and Variable ND. I have a 256gb CFexpress card as well. If you need still lenses or Canon CN-E Primes i can provide those as well.

Best,
David De Souza
561-396-4728

On Mon, Aug 17, 2020 at 6:23 PM Doug OKane <dokane22@...> wrote:
I'm having a hard time finding 2 Cannon R5's available to rent Aug 20 through 29. Any ideas?
--
Doug O'Kane
1st Assistant Camera
Denver CO







--
Best Regards,

David De Souza
561-396-4728


Cannon R5's available to rent 8/20 - 8/29

Doug OKane
 

I'm having a hard time finding 2 Cannon R5's available to rent Aug 20 through 29. Any ideas?
--
Doug O'Kane
1st Assistant Camera
Denver CO


ARRI Error Codes

Art Adams
 

Hi Scott-

 

You might email service@... and ask them.

 

-Art

_______________________________________________________
Art 
Adams
Cinema Lens Specialist
ARRI Inc.
3700 Vanowen Street
BurbankCA 91505
www.arri.com 

 
aadams@...

Get all the latest information from www.arri.comFacebookTwitterInstagram and YouTube.






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ARRI Amira Electronic Horizon

SCOTT DAHARB
 

Does anyone know if and where an electronic horizon would be in the ARRI Amira?  If not, any thoughts on why this wouldn't have been put in during manufacturing?
Thanks,
Scott


ARRI Error Codes

SCOTT DAHARB
 

Does anyone know where a list of ARRI Error codes is available?
Thanks,
Scott


Re: Mobile Cyclorama

Steven Bailey
 

Making a permanent studio fixture, into a mobile one, there’s always going to be something which has to be compromised. Size is usually top of the list, but maybe look into something like this at B&H. - 


With some custom alterations, to allow fibreglass “tent poles” to stretch the material taught, whilst also shaping it. 



Regards
Steve

 
STEVEN BAILEY
   TWISTED VISIONS PTY LTD
     P.O. Box 49, Malvern VIC 3144
      Mobile +61 409 553 655     
         Email twisted.visions@...

On 22 Jul 2020, at 8:31 am, David De Souza <airrows@...> wrote:

Hello Everyone,
 
I was wondering if anyone knows of a way to create a mobile white cyc? Something more durable than seamless paper or cloth. I would like it to be as close to a permanent white cyc as possible with the flexibility building it rather quickly and taking it away at the end of a shoot. Thanks in advance.
 
Best Regards,

David De Souza
561-396-4728
 
 


Re: Mobile Cyclorama

David De Souza
 

These are all great suggestions!

@Graham - If you look at the https://www.bristolvfx.com/ link Geoff sent. Their product called VFX100U or L is almost exactly what I had in mind.

@Geoff - Thanks for the resource! If i ever need a green screen, this will be perfect. I was hoping to find something exactly like this but would work for white. I don't think this will work if I had white fabric right? Even if I light it properly, you would most likely see the creases?

Best,
David


On Wed, Jul 22, 2020 at 11:39 AM Geoff Boyle <geoff@...> wrote:

These guys have a range of mobile screens etc…

 

https://www.bristolvfx.com/

 

I’ve used their kit a lot in the past, they are always helpful and although they show green I’m sure they can do any colour you need.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

 

 

From: cml-ac@... <cml-ac@...> On Behalf Of Mitch Gross
Sent: 22 July 2020 15:10
To: cml-ac@...
Subject: Re: [cml-ac] Mobile Cyclorama

 

You might want to consider a pop up frame like companies use for trade shows (remember them?). I’ve seen some that accordion out to form a 10’x10’ wall but compact down to a very portable size. Then you just get a fabric “skin” to put on top of it and let it extend onto the floor. That way you could just wash it for reuse. 

Mitch Gross

New York



On Jul 22, 2020, at 8:48 AM, Graham Futerfas <gfuterfas.cml@...> wrote:

What size are you thinking? I would have suggested seamless, since it’s an obvious choice.
-Graham



---
Graham Futerfas
Director of Photography
Los Angeles, CA
www.GFuterfas.com
---



--
Best Regards,

David De Souza
561-396-4728


Re: Mobile Cyclorama

Geoff Boyle
 

These guys have a range of mobile screens etc…

 

https://www.bristolvfx.com/

 

I’ve used their kit a lot in the past, they are always helpful and although they show green I’m sure they can do any colour you need.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

 

 

From: cml-ac@... <cml-ac@...> On Behalf Of Mitch Gross
Sent: 22 July 2020 15:10
To: cml-ac@...
Subject: Re: [cml-ac] Mobile Cyclorama

 

You might want to consider a pop up frame like companies use for trade shows (remember them?). I’ve seen some that accordion out to form a 10’x10’ wall but compact down to a very portable size. Then you just get a fabric “skin” to put on top of it and let it extend onto the floor. That way you could just wash it for reuse. 

Mitch Gross

New York



On Jul 22, 2020, at 8:48 AM, Graham Futerfas <gfuterfas.cml@...> wrote:

What size are you thinking? I would have suggested seamless, since it’s an obvious choice.
-Graham



---
Graham Futerfas
Director of Photography
Los Angeles, CA
www.GFuterfas.com
---


Re: Mobile Cyclorama

Mitch Gross
 

You might want to consider a pop up frame like companies use for trade shows (remember them?). I’ve seen some that accordion out to form a 10’x10’ wall but compact down to a very portable size. Then you just get a fabric “skin” to put on top of it and let it extend onto the floor. That way you could just wash it for reuse. 

Mitch Gross
New York

On Jul 22, 2020, at 8:48 AM, Graham Futerfas <gfuterfas.cml@...> wrote:

What size are you thinking? I would have suggested seamless, since it’s an obvious choice.
-Graham



---
Graham Futerfas
Director of Photography
Los Angeles, CA
www.GFuterfas.com
---