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Stephen Alexander Griebel

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About Stephen Alexander Griebel

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    Los Angeles
  • My Gear
    Arri HSR-II

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  1. Just wrapped on a short with this workhorse. Asking $3400 + shipping. Photos: https://drive.google.com/drive/folders/1J0ddoEpSZV3z24-K53eflvjJwfe7wOgv?usp=sharing -Arri B mount -Aaton mount included -Hood w/ 1 4x4 filter tray
  2. How? I'm sure a better physicist than I could prove it on paper. I'll chalk it up to the universe's will.
  3. The actual glass broke clean in two right down the center of the ratio marks-- I lucked into an Arri HSR II and have since tossed the glass unfortunately. The XTR/plus lacks the wonderful cartridge system of your Prod, Tyler 😉. The bare glass is cemented directly to an adjustable 16/S16 sliding arm.
  4. I was adjusting the arm to square the alignment in the viewfinder when the glass became uncemented, bounced out of the lens port, and split into two halves on my floor. Would even be open to standard 16mm at this point. Thanks!
  5. Yeh, I never understood how Hitchcock, who abhorred outdoor (realistic) shooting and promoted a sort of neo-German expressionism, stylization and artifice throughout his career, could make such a statement. But of course, prominent directors have a history of saying catchy things which are often contradictory to a prior maxim... I believe Maestro Fellini takes the cake on that one. I would say that some biopics and documentaries are real life with all the boring bits taken out, but not most of them, and certainly not most narrative feature films. I'm sorry but dialogue, blocking, perform
  6. Allow me to blow the dust off this post-- PHHHHHHHHW. Alright, having sent the test roll out three weeks ago, it just arrived today. I was pleasantly surprised by the results. Due to the low light of the projection and the limited space of the theater room, I had to shoot wide open (1.4 on my Bauer 715 xl) and at 30-40mm focal length (about half of the Angenieux's 6-90mm range). Thus, the image isn't as crisp as possible (even for super 8) but I rather like what came out. Also, again for exposure reasons, I could not afford the stops for a daylight filter in camera, so I (easily) corre
  7. deep breath...and release... Well, I do thank you for your initial discretion, Rory, but "traditional" is highly subjective and I'd say that what I'm trying to do is get back to "tradition" which was neither ultra-clear nor realistic, though due to technical limitations of the times. I disagree. I have only seen theories which expose your own ideologies of clarity as a precondition to our medium. Kubrick didn't like modern stocks because they were too close to reality, and not just because Eyes Wide Shut was based on Traumnovelle, so he pushed it to its extremes. Renoir
  8. The way I see it (and Dave Mullen has mentioned this in response to another thread on projection) HD and the digital medium in general feels more lifelike than film, which is a bit ironic, as film has "character" in every single one of its flickers, scratches, weaves, and golf-ball sized pieces of grain, not to mention the fact that it is made from wood cellulose and cotton, as opposed to digital, which is pure raw data. Somehow, even in panning, etc it portrays life "truer"-- perhaps partially due to its economy and efficiency, thus its prevalence in reality TV, news (certainly true, at leas
  9. Thanks Saul and Marcel for the only constructive responses in this thread. • Film: waste of time & money… Uh, check. -- Cost of film, time spent loading (paying assistant to do it if you're too busy), lab fees, waiting for dailys, not being able to see your results immediately for review... Uh, yeh, check I guess. And inefficient to boot, lack of low-light sensitivity and bulky equipment. It's tough to shoot and go, get long takes without expensive, bulky magazines. I don't know what you're arguing. • HD: waste of time and money… Um, OK, check. -- I don't like the look.
  10. Yeh, I've seen a lot of cheap DIY telecine jobs where people project super 8 or 16mm and record the screen digitally and it looks like film, so it makes since that it would be the same the other way around. However, I would say that the current technique of xferring HD to film is done in a way to maintain the precision of the original (as well as the aforementioned lack of digital projection nationwide) not for artistic reasons. I am less concerned with such "sophisticated" ways of further blending film and digital (until they are one indistinguishable hyper-reality) than I am with observ
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