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Hi, thanks for clicking on this Wiki. This guide is intended to give you some impressions and insights, into how working on set with a analogue camera CAN be. This guide does not aim, nor claim to be right by any means, it does just include the information and ways of working that I got to know on set and grow familiar with. So why this guide you might ask? As a very young camera technician and 1st AC, who really loves the analogue way of working and dealing with old funky cameras, I want to share the knowledge that I got so far. Luckily I was able to service a lot of analogue projects, which I feel is a huge privilege. In order to continue working on analogue sets, it is important that film stays around for many years and in order for that to be the case, you all must shoot film!!! I intend to educate and help so that you feel confident to step on set with a film camera. Say no to gatekeeping and yes to shooting film!!!
Disclaimer: This project is very young and this version is more a draft than anything else. There will be mistakes If you spot any, please contact me. Also, if you would like to contribute to the Wiki, let me know. I would love to get cowriters and/or your knowledge to enrich this guide for everyone!
Firstly, the most important thing is: Don’t stres yourself out too much. Shit is going to happen. Film will break, the camera will jam, there will be problems! If the production or the DOP actievly decidedes to take the step to shoot on film, there are some things that will be slower and different to shooting on digital. If anything happens, be patient, be careful and if necessary, double check things. The key here is communication. If you need your time for marks or lacing the camera, you need your time (which should not mean that you should work extra slowly, but always be careful and extremely concentrated). There is no place for rushing things. It might be unattractive at first, but everybody will be rewarded when the whole crew watches dailies together. WARNING: You might built a very strong connection with the old ladies (cameras)! Be emotionally stable enough that you are able to leave them after a few weeks of shooting… Talking from experience here, it is not as easy as it sounds… So lets get it started!
Camera Order - Expand
The actual work for the production starts way before your first shooting day. Take some time to talk with your cinematographer and figure out his needs for the shoot. Be aware of technical challenges. DPs often forget to inform everyone about especially hard to get shots, so reading the shotlist will help you identifying, if you will need any additional accessories or grip-equipment. Find a PDF here, which includes a “fully configured” camera set, which you could use to check if you might have missed something, before you send out your camera order to the rental. Note that not every production needs to carry everything. There is a huge advantage to travel lightly, if you are certain that you wont need certain speciality equipment.
Lets go over a checklist that can help you writing your camera order. Rentals love a good and complete list, lets make their lives easier!
Camera Body: If your DOP does not know, which specific camera he wants to shoot on, you should give him a suggestion. Things to consider there are:
MOS (Sync Sound or no sound?)
Framerate (Does the film require high speed filming or slow shutter recordings? Do you need to ramp the speed while filming?)
Filmformat (especially with 35mm, make sure that the camera is available with the right movement [2perf,3perf,4perf])
Weight
Usually the camera you will choose will be a compromise between different factors important for shooting. Unfortunately, the perfect camera is yet to be built xD
Find more information about different camera underneath. There is a lot of information available in a table, that might make it easier for you to choose the right camera.
Lenses: Usually your DOP has a specific wish for that. Your job is to check that the lenses work for the desired format. If there are any zoom lenses, order additional accessories like a zoom fluid or a zoom control unit. Check if the lenses are focusing inside the housing or move while racking the focus. This will be important for the choice of mattebox.
Filters: quick rundown of what you usually want to carry:
-Clear Filter (Protection!)
-Rota Pol/Pol
-85/85B (Discuss with your DOP or colorist what they favor, Kodak recommends the 85 correction for vision3 5213 and 529)
-Set of ND (usually .3-1.2 is enough. Opposed to digitally, the image get darker and extremely difficult to see through with heavy ND Filters, so high NDs like a 2.1 you would use on digital would be difficult to use. Encourage your DOP to stop down a bit. Especially at times where everything is shot on T./1.2 the look of a closed lens is often forgotten about. Give it a try)
-Set of 85/85B NDs (Note that a .3 ND takes 5/3 Stops of light, a .6 8/3 and so on….
-Effect Filters (ask your DOP for the needs of the production)
Mattebox: Make sure that you carry the ring mounting option for your configuration (different clamp-on-adapters for LMB-Systems or Rod-Mounted System with different sized Donuts). Check that your lenses and your format does cover the lenses and does not vignette the image! Especially on bigger formats like 65mm or VV, this can quickly turn into a problem with 4x5.65 filters and on wide angel lenses even with 6x6 Filters.
Lens Control: Most importantly here is that you choose the device that you feel most comfortable working with. The chosen system will stay in your hand for several hours a day. You have to work efficiently and precise with the system you choose. If you have a lot of experience with a particular system, go for it. Opposed to digital cameras, there is no real connection like LBUS or similar and nearly every system is able to trigger analogue cameras. Among the most popular choices for Wireless Focus Systems are ARRIs WCU-4 or HI-5, Preston FIZ System, C-Motion FIZ System and the Teradek Remote Focus. Make sure to check how many motors you need and if you need an additional control for the zoom axis. Also check how the System can be powered on the camera. Note that daisy chained systems like the C-Motion Motors don't like to work of a single power source. Definitely check your whole configured System with a running camera during your camera test.
Personally, I like to operate focus from a manual follow focus like the ARRI FF-5 or FF-4. When I stand near the focal plane, it is much easier to judge distances and the proximity to the DOP ensures, that you are always there to fulfill his needs and act quickly. It is always helpful, especially with the old cameras to carry an manual system, because you never know if there are any issues with the remote connection or the power supply via the camera.
Focus Assist Devices: A great help to enhance your workflow for focusing are focusing assists like the Focusbug, Cinetap or ARRI UDM. If used in combination with the proper remote Focus, the distance readout is even available wirelessly on your handunit. On think to note for the setup is the power supply for the systems. Check which cables your system is equipped with and order the proper adapters and splitterboxes in order to power your assist and focusing devices properly. As most analogue cameras have very poor mounting possibilities, also think about that. There are some great modifications for cameras which allow for more mounting options. Check with the rental which system they have available. Many Mattebox allow mounting of accessories on top. I would recommend to not mount your Assist that way for the following reason: Difference from the focal plane: different length of the lenses chassis will differ the mounting point of your assist which throws of your set focal plane and would require a recalibration of the system for each lens.
Practicability: Switching lenses gets more complicated because you cant just put down the mattebox, as the power-and datacable of the assists minimize the matteboxes range of motion. Changing a lens then turns into a two men job at all times.
Video System: Check your need before the production. The biggest influence on your configuration is the state of the IVS (Integrated video system) that the camera offers. Some cameras are equipped with 4k digital IVS, but more often than not you will find a analogue SD camera. In that case your video system will look something like that:
Mounted camerasite: A>D Converter to get a HD Signal for modern Transmitters and Monitors, Video Transmitter, Onboard Monitor (useful for tight dollyshots, but not recommended to operate for longer time as most IVS Images are not very good and cannot really be judged by the DP that way).
Off camera: Directors Monitor with Video Reciever (Handheld and/or Stationary)
Check how you can power the devices without overloading the power supply and ensuring enough voltage for the cameras motors at all times. If possible and useful, think about having video separate from the camera built (e.g with a backpack or something like the fookus pookus grip system). Note that you will often switch or your camera (waaaay more than with digital). If your transmitter and monitors are powered via the camera, they will also always be turned off which is not good for the equipment and also takes long for booting. If there is an auxiliary power supply for that matter, this issue would be resolved. Also, always carry Spare BNCs. Some productions want to record the IVS Material. In that case carry an additional monitor with recording capabilities.
Camera Support: Make sure that the equipment does allow for the weight of the system. If there is enough grip on set, Mitchell would be the recommended way of mounting, otherwise you should always go for at least 150mm Bowl. Especially check your Heads Loading Capablilites, as your Kit will get heavy very quickly.
Usually you will carry the following Support Grip:
Head, Mitchell or 150mm Bowl
Sticks (L,M,S, Carbon or Steel)
Baby Legs, Ground Plate, Hi Hat
Cinesaddle
Sandbags
Few Wedges and wood spacers
Set(s) of Applebox(es)
Power Supply: I probably spread a lot of fear of the power topic… It is not as bad as it sounds. Ideally you want to use external batteries like the anton bauer VCLX or the Bebob Cubes to ensure that enough power is available. If you have a lot of handheld work it could however be useful to use smaller cameramounted batteries, most of the times V-Mounts. Check that you dont overload the Battiers D-/P-Tap outputs.
To ensure that the camera has enough voltage for smooth running, change your batteries quicker than you would on digital cameras. I change at latest when the bar reaches ½. Carry enough batteries to be able to run through the whole day without charging, if you know that you will work remote for several days, you even want to carry more.
If I work with external batteries, I always have one spare battery and the working battery on set. When we switch, the 2nd or the material assistant changes the empty battery for a second standby battery. This ensures that even in hectic situations, power supply is always ensured.
Also check if you need to power all the monitoring systems via batteries or if there is groundpower at all necessary locations.
Always!!! carry some PRCD-S. You never know how and if your power source is grounded, especially in old funky locations. This could really save someone's life. If you see a crewmember plug in something directly without the use of a protection device, please do talk to them.
Transportation: Magliner / Camera Truck
Praktikabel
Changing tent
Material Managment - Expand
If your production is short or does not have the ability to continuously order new film stock during production due to limited supply (which is the case for most productions nowadays), make a plan on the amount of film stock to be bought by production. In order to determine the amount of stock, there are a few things to consider.
-Runtime: Final Length of your Film
-Shooting Ratio: Amount of takes you want to have
-> If the movie should be 90minutes long and the desired shooting ratio is 3:1 (3 takes per setup), you need 270min of material. But be careful, this does not account for the time the camera needs to turn up to speed or stop after the take, the time for marking (slating), and lacing the camera. Also some film is “wasted” during loading” and you should try to not run your camera empty (especially on bigger formats like VV or 65mm). So always account for more that your shooting ratio, so that you are actually able to maintain the desired shooting ratio.
Some productions like to stick with a single film stock, most of the time 5219/7219 (Vision 3 500T). If your DOP desires different film stocks, figure out the use cases for the stock (50D for bright sunlit scenes…, 250D for Daylight scenes, 200T for brighter artificial scenes or daylight scenes with a correcting filter, 500T for night scenes…). Order accordingly.
Another thing to consider when preparing the filmorder is the amount of empty cans and additional cores you will need. If you end up with a short end (at the end of the day or if a magazine needs to be switched to a different filmstock), you will need a core, black plastic wrap and a empty can. Try to figure out how often you will encounter short ends and order accordingly. I find that you end up with more shortends than you think. I order enough cans to be able to do a short end for every 2nd roll.
Ask the distributor or the lab to provide you with enough exposed/recan/short end labels for the cans.
CAMERA TEST
A extensive camera test is necessary, in order to ensure functioning equipment and to not encounter any surprises while shooting or even after shooting in the filmlab. Sometimes you might have to fight about the duration and crew for the cameratest with your producer. When shooting on film a proper cameratest is very important, especially as you cannot see what you shoot and therefore need to know that the cameras movement and focus plane are all within specification.
If it is possible (for longer shooting periods this is actually a must), a multiday cameratest is the best way to go. Before coming to the rental, make a list of things that need to be checked and split work between the crew. Usually, the 2nd is responsible for all the equipment being there and having a overview, while the 1st will check the technical site of things, especially all camera related stuff like the focus and the camera movement.
Below, you will find some checks that should be done during the cameratest.
Light Thightness test/control - Expand
The only time we want light being able to expose the film is while the camera is running and the desired filmarea has been moved behind the filmgate. To ensure this is the only time the film is exposed to light, all the equipment where the film will be in, must be checked for any light leaks. This includes the cameras body, the magazines and the changing tent.
Magazines: Take a look at each magazines, especially at the light seals between the door and the mag. Does it look good or is it falling apart? Make sure the door closes firmly and locks in place. Most mags are built to be completely light tight, even in bright sunlight. Some mags, especially older ones, you want to tape over connecting pieces like the door.
Camera: Take a look at the door of the camera and again, check the light seal. Does it look good or does is begin to fall apart? Make sure the locking mechanism works and pulls the door towards the movement. Check the camera body for any other cracks and damages, which could lead to light entering the movement.
Tent: Built up the tent and visually confirm that there are no breaks. Note that tents to never belong on the ground and sharp edges should never touch the walls of the tent. Check the inside with your hand and confirm that you feel no breaks.
Regtest - Expand
In order to check image steadiness (this means that the film does not move while being exposed to light and is always looked in place, so that there is no movement in any direction), put up a regtest-chart. Center the camera to the chart, make a marker in the middle with a 1 on it.
Lock up the camera by e.g. putting heavy weight on the tripod. Load the camera. Close the viewfinder. If the camera is not able to run backwards, remove the lens and mark the filmplane with an x from corner to corner on the film.
There should be no movement while the camera is running, ideally use an external trigger. Run 30-60sec.
Move the camera a little bit left or right. Mark the second middlepoint with a small marker with a 2.
If the camera is capable of running backwards, run the amount you just shot backwarts. Close the optics completly or remove it and use the camera cap. Do not run the camera empty!!
If the camera is not capable of running backwards, rewind the film in the changing tent. Load the camera to the exact same place, that the X is in the filmgate.
Run the second test.
Make sure to underexpose both runs by at least one stop. To avoid the white lines to overexpose, you might even underexpose more. All that matters is that you are able to see the lines.
When you receive tests back, there should be no movement between the different lines of shoot 1 and 2.