FOR SALE: Pegasus DSLR Slider / Table Dolly, plus rails

I’m selling my Pegasus DSLR Table Dolly from Cinevate. The equivalent kit costs $1443.00 new. This has both the straight and articulated legs, bowl, and additional bands for the wheels if they were to wear out. Also included is the 100cm (39in) 15mm carbon rails, mounted in a tool-free system.

The price is $1,000 shipped within the continental United States. More for international, Alaska or Hawaii.

Here is the original product sheet from Cinevate. download pdf.

I’ve used this a total of three times and it has spent the rest of the time packed in a pelican case. While I would prefer to keep it, I need to raise further money to make my next movie. Please let me know if you have any questions via email.

Jun 27, 2011

Jun 20, 2011

Jan 12, 2011

AF100 Test – Wilshire and La Brea

After charging the battery, I took our AF100 (on a Miller DS20 tripod) down to the street and rolled off a little footage. Can’t wait to start production on our next movie(s) with this. Buddy of mine has some Lomos we’ll probably use.

Jan 11, 2011

Panasonic AF100 – My First Impressions

Forgive me for turning into a tech-head for a second. Just took ownership our new Panasonic AF100 camera and am ecstatic. Here’s a few initial thoughts/discoveries.

1. MASTER PED – Had the camera going into FCP and I brought up the scopes. The Waveform monitor didn’t hit 0 IRE (black) until Master Ped was set at -3. I might even go to -4.

2. Green LCD – Mine has the tiniest, tiniest green cast when compared to my calibrated broadcast monitor. They are nearly identical and I would not hesitate in using the on-board LCD to approximate color. I also have a Lilliput 7″ monitor that it noticeably different. Not going green, but in the opposite direction. Kind of surprised by this overall as I expected to have the extreme green issues others have seen. But I don’t.

3. ISO – okay, maybe I need to read the manual but is there a faster way to set an ISO other than assigning it to L/M/H ??

4. The onboard waveform is mismatched to my waveform in FCP. 100IRE in FCP (which seems accurate judging by what i’m seeing on the monitor) is represented well below the 100IRE line on the LCD’s waveform monitor (maybe around 75 or 80). Have to dig deeper on this one because having the on-board WFM will be essential to identify overexposure that otherwise “looks” okay to the eye. Using this so far has helped me avoid clipped skin tones, etc.

5. Last thing I learned is that this new (used) Nikon 135mm f/2.0 is going to be a favorite.

Batteries are charging. will take it out on the street soon.

Dec 22, 2010

Dec 17, 2010

Section 181 Renewed!

Minutes ago, I received this email from my friend and fellow filmmaker, Justin Evans.

Dear Film Professionals -

Section 181 has finally been renewed! The new Tax Bill was signed into law by President Obama earlier today. The tax law includes Section 744, which includes language that replaces IRS Section 181's expiration date of December 31, 2009 with December 31, 2011.

http://www.gpo.gov/fdsys/pkg/BILLS-111hr4853enr/pdf/BILLS-111hr4853enr.pdf

Here is what this means:

  • Any money spent on qualifying domestic film production* in 2010 now qualifies for the Section 181 tax write-off.
  • Any money spent on qualifying domestic film production* in 2011 will also qualify for the Section 181 tax write-off.
  • There is no gap in Section 181 protection...which means all the fear and worry that someone might have begun a project in 2009, somehow didn't get the financing in place and investors invested in early 2010 can now breath a sigh of relief.

*Please, remember that a "qualifying domestic film production" can be complicated and requires reading the original section of the IRC. My interpretation is if you shoot a movie, television episode, music video, short film, webisode, etc. the investors will be able to deduct 100% of their investment in the same fiscal year. Traditionally, investors must deduct there investment over a three year period. Why is this a big deal? For professional high networth investors who need deductions in order to defer income Section 181 makes the film industry an excellent income deferral strategy. It makes our industry one of the most attractive for investors who are actively seeking legal income deferral strategies. Coupled with rebates from states it is possible for an investor to make a profit on a motion picture before the film has sold.

A lot of people will talk about how complicated Section 181 is. I personally find it easy to understand. If I shoot 75% of a motion picture inside the US it qualifies. If I shoot a television series then several seasons of episodes will qualify. If I shoot a music video it qualifies. If I shoot a documentary it qualifies. If I shoot a TV commercial, pornographic film, corporate video or informercial it won't qualify. Distribution expenses won't qualify. Development will, assuming it has been financed prior to the December 31st, 2011 deadline. And, because of the grandfathering clause, if I begin production on a movie in 2010 or 2011 but do not complete it until after December 31, 2011 then all of it's expenses will still qualify for Section 181 even if Section 181 is not renewed in 2012.

Those are the conclusions I have reached with my legal & tax consulting team. Please, consult with your own legal & tax experts. Be skeptical of my interpretations and this email. Verify the details with certified experts you trust.

However, the reason I'm writing this is because Section 181 has largely gone unused by smaller independent films and we're the ones who can benefit from this most. The studios already use this to minimize risk and accelerate an exit for their investors. Now, every independent filmmaker needs to use this. This can be the turning point for independent film in America. This is how we can be self-reliant.

I hope Section 181 enables your dreams to come true in 2011!

- Justin

Sep 8, 2010

Zach Seivers mixing DEKLUN’s new album.

I spent Sunday evening with Zach Seivers at his Snap Sound studio, mixing DEKLUN’s new album.

Zach’s focus was to manage the bass so it was consistent across all tracks, but also to be mindful of the each song’s arc, giving it minor nudges and tweaks in volume and EQ along the way. It sounded brilliant.

At the end of the night, he burned a CD-R to audition the mix on a variety of less-than-ideal sound systems — in the car, at home. Any takeaways from that will inform the next pass on the mix and then we’ll send it to DEKLUN for his thoughts.

Here’s Zach working on Twilight, the fifth track on the album.

Sep 2, 2010

Recent Trailer Work

I was recently hired to cut a trailer for an independently produced spy thriller titled “A Lonely Place For Dying”. Contact me if you would like discuss having me do the same for you.

May 30, 2010

The Truth About What Motivates Us

We’ve been asked on several occasions why our sets seemingly run so well, despite the microbudget. While I understood what it was we were offering to the people we collaborate with, this is helping me see the science behind it.

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