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Shooting F900 overseas


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#1 Brian Dzyak

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Posted 28 September 2006 - 09:57 AM

I may be shooting a documentary that takes us from the States over to England and to numerous locations on the way to Dubai. I'm tring to run through every scenario I might encounter as I've never shot overseas before.

I plan on getting the 220 bulbs (from Bulbtronics) as well as the power adaptors.

Are there any other "you should keep this in mind" things that I might be overlooking? We'll either be using the F900 or the 900R as well as Steadicam and a relatively small light kit (Arri tungsten and 800w HMI).

Specific details about where we'll be are still coming in, but I'm trying to think ahead.

Thank you!
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#2 Mike Brennan

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Posted 01 October 2006 - 03:15 PM

I may be shooting a documentary that takes us from the States over to England and to numerous locations on the way to Dubai. I'm tring to run through every scenario I might encounter as I've never shot overseas before.

I plan on getting the 220 bulbs (from Bulbtronics) as well as the power adaptors.

Are there any other "you should keep this in mind" things that I might be overlooking? We'll either be using the F900 or the 900R as well as Steadicam and a relatively small light kit (Arri tungsten and 800w HMI).

Specific details about where we'll be are still coming in, but I'm trying to think ahead.

Thank you!


If you are shooting non pal frame rate then use clear scan to tune shutter speed to lamp frequency.
Local steadycam guys may not be able to cope with monitoring HDSDI 23.98.

Crews expect lunch! The EU working time directive prohibits scheduling long days and although film biz is exempt in UK there is a trend away from long days after a car delivery guy who asleep at the whee, ran off the motorway and cashed a hugh train crash killing around 20 people. He was charged and convicted of manslaughter and jailed for many years. He had scheduled a couple of busy days for himself and knew he would be tired.

Following organised crime targeting rental companies dont expect to be able to hire any kit locally in UK France or Germany at the last minute without allowing many days to setup an account.


Mike Brennan
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#3 John J. Moers

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Posted 02 October 2006 - 07:58 PM

I may be shooting a documentary that takes us from the States over to England and to numerous locations on the way to Dubai. I'm tring to run through every scenario I might encounter as I've never shot overseas before.

I plan on getting the 220 bulbs (from Bulbtronics) as well as the power adaptors.

Are there any other "you should keep this in mind" things that I might be overlooking? We'll either be using the F900 or the 900R as well as Steadicam and a relatively small light kit (Arri tungsten and 800w HMI).

Specific details about where we'll be are still coming in, but I'm trying to think ahead.

Thank you!



Brian,
I have a 2nd work/home base in Prague but shoot all over. I don't know what kind of monitor(s) you'll have, but with my Cinealta I use a Sony 9? (BVM-D9H5U), either AC or DC. When I bought it last year, Sony assured me it was voltage sensing, but it wasn't. The AC adapter power supply that came with the monitor does not handle 220v and I was forced to buy a second one that did.

I have an Arri tungsten light kit with a mix of lights including some 150w fresnels. The bulbs in those 150w lamps are bayonet mount, unlike the same exact lamp in the 220V version. No one ever even saw these bayonet lamps in England. I finally got them when I was back home at Bulbster.com.

I work often in London and be warned ahead that currently, you absolutely will not be allowed to hand carry your camera on the plane for a departing flight. Make sure then, you have a hard case for checking it in. Because although they assure you that your camera is going to a 'special' fragile handling section-it isn't. You'll find it riding on the baggage carousel when you land at your next destination.

HDCAM tape stock can be ridiculously expensive in some countries in Europe-more than double the price that I pay at home. Bring it with you.

The site below shows voltage and plug/socket configurations around the world:
http://kropla.com/electric2.htm

I assume you are getting a carnet.

If you need anything while you're in Europe drop me a line here.

John
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#4 Brian Dzyak

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Posted 02 October 2006 - 09:05 PM

John, Mike...you guys are awesome! Thank you! Details are still trickling in (I always seem to be the last to know), but your information is invaluable!
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#5 Phil Rhodes

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Posted 03 October 2006 - 02:31 PM

Hi,

Give me a shout when you're here.

Phil
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#6 Brian Dzyak

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Posted 06 October 2006 - 12:24 AM

So now I've been asked that we shoot PAL. Just so I know that I'm not crazy, we won't really shoot PAL, but instead I'll set the F900 for either 25PsF or 50I. Right? Most of our footage will be used for a documentary, but it will also be used to ship out for "news" releases as well along the way. Is there any advantage to 25P over 50I beyond just choosing a "look"?
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Glidecam

Paralinx LLC

Gamma Ray Digital Inc

Wooden Camera

Willys Widgets

Aerial Filmworks

rebotnix Technologies

Tai Audio

CineTape

Opal

The Slider

Metropolis Post

Rig Wheels Passport

Broadcast Solutions Inc

FJS International, LLC

Media Blackout - Custom Cables and AKS

CineLab

Ritter Battery

Technodolly

Abel Cine