Rich Steel

I've just purchased a True Blue (T1) 1K fixture, with the view to changing the G22 Lamp Carriage for a High Temperature G22 Lamp Carriage from a 575 Compact HMi. I've not had a chance to dig around inside a 575 HMi unit so was wondering if it's a fairly straight forward swap out of the Lamp Carriages? or is there more to it? Would I have to look at other components also to convert the T1 to an HMi? I understand about getting the lamp the right height once mounted into the fixture (thats where my Father in laws metal skills will come in handy), adding the Arri hour counter (is it necessary?) and changing the internal cables to High Temperature ones (again is it necessary?) but is there anything else I should be looking at changing? or should I just leave the T1 alone? The only reason I'm asking is that I've managed to track down a cheap good quality built ballast and thought I'd try it out with the T1.

I don't necessarily think 16mm is dying. It's going out of fashion but remember "what goes around comes around". Remember that film has/is the only proven track record for long term archiving. How many video formats have we seen come and go in the last 3 decades? and how many more shall we see in the next 3 decades? I don't think we should write off 16mm just yet. Ask me the same question in 20 years time.

Hey Carly, I'd suggest you watch the first movie that inspired you to become a cinematographer. Watch it over, again and again and get to understand how and why it made that strong emotional bond with you. On a personal note though I love Conrad L. Halls genius on "Road to Perdition" and Gordon Willis's use of light in the "Godfather" but no doubt this thread will have other masterpieces added as time goes by.

I'm a sucker for old black and white movies so I guess a remake of "It's a wonderful Life" (I know it would be sacrilege) set in modern times would float my boat.

The example you've shown is called "High Key Lighting". Below is a link explaining the best ways to achieve this. It's very informative albeit being a still photographers website. but worth reading. http://www.tallyns.com/TechTips/HighKey.htm I'd be careful about using fresnels. Use an open faced unit through some diff as previously mentioned. Rich Steel Cinematographer

You should look at the Mole Richardson Biax Units. They're cheaper than the diva's and according to their web site also throw out more light. A win, win situation in my book.

Common sense would dictate that more definition/resolution would be the best way to go, No?

If I could serve my time again, instead of college I think I would have started a job at a local rental company like "Arri Media" for instance. Why? well first of all you'll have access to all the latest in technology to get to grips with and have access to an already established database of clients. Work hard, learn the ropes get yourself known to the clients your servicing......Go Freelance and start at the bottom, learn from the best and work your way up the ranks. Here in the UK, it's all too easy to leave college and say your a DOP and unfortunately that reflects on the work and jobs that are available here. I've spent 15 years working in the business and only now have started making in-roads to the kind of work I really want to do. Whatever path you decide to trot along on, may it be a successful one. Good Luck in your new prospective career. I keep telling people......"One day I'll get a proper job" but to be honest, my work is my hobby, not many people can say that. Regards Rich Steel Steadicam Owner/Operator www.steadicams.com

Have the balls to tell your DOP you want more light cause your sick of shooting at 1.3........ Of course I'm only joking.

This thread reminds me of a story a spark once told me. Commenting on how one DOP he had to work with was fresh out of school and literary dropped in at he deep end (by his choice). The spark knew the guy bit way too much off to chew and as such the spark coined the phrase "Clapper Lighter"........ Needless to say the Clapper Lighter now has several listing in the usual UK publications. From being a First AC, Steadicam Op, Jib Op, all the way to being a DOP(e). How can anyone take these kinds of people seriously? I think Mr Pytlak summed up my own thoughts rather eloquently in his last paragraph.......Nuff Said. Rich www.steadicams.com

I've done it before and from my experience I lit as flat as possible. Used a Kino Flo Flathead 80 with 3/4 diff just off and above the lens and used a Mini Flo on the opposite side (again directly above the edge of frame and alot closer to the subject) to get a bit of an eye light going. Also, HANDS can be a huge give away as is the ADAMS APPLE. Whatever you do Good Luck.

The Arri Variables were used by Stanley Kubrick on Eyes Wide Shut so they are most defintely top notch lenses. This auction is for 2 of the 3 Arri Variable Prime Lenses. You are bidding for a VP2 and a VP3. I bought these units over a year ago now and have used them maybe 6 times. Both are in Mint condition and both have heavy duty Anvil Flight Cases. The only reason I'm selling them is I have a rather large TAX bill that I need to pay early next year. If I didn't have the TAX bill to pay I would most definitely be keeping these little beauties. FAST SPEEDS, over the entire Focal Length range both Primes have a constant aperture of T2.2 INNER FOCUSING on both lenses means the overall length of the lenses remain constant and Matte Boxes can be used without a problem. SCALES for Shutter, Focus and Focal Length have large numbers and can be read horizontally from both sides. ZEISS-T*-NON-REFLECTIVE COATING on both lenses minimises stray light and leads to an image quality with high contrast and extremely low reflection at high speed. So overall your getting: Superior Image Quality Full Super 35mm Coverage High Light Transmission (T2.2) Interrnal Focusing Mechanism Integrated Gearing for use with Lens Controls Systems Large Scales on Both Sides Square Front Masks to Prevent Reflections and Stray Light Time Saving through immediate adjustment of the Viewing Angle The VP2 Focal Length is 29mm - 60mm (6.5kg) The VP3 Focal Length is 55mm - 105mm (5.6kg) I'll throw in an Arri 19mm Bridge support bar FREE OF CHARGE. This cost me almost £300 (GBP) it's in AS NEW CONDITION. I'm not willing to sell the units individually both must go. FORGOT TO SAY, MAKE A REALISTIC OFFER BY EMAIL. CHEERS

Sorry David, With all due respect but isn't that what I just said in the posting before yours? It's certainly what I meant to say. Yours Rich

The HDV Footage tests made the CG Guy get grey hair as soon as we started moving the camera. I don't know all the technicalitys of why I just know he had an absolute nightmare with any moving footage and I saw some of the artifacting he was talking about on a 30" HD Monitor. Ideally I would have liked to have shot super16mm but the budget wasn't there so there has to be major compromises all round. We hired the Z1 kit for around £150 (GBP) per day for 5 days. I'm not saying I'd rush out and buy one but cost for cost the Z1 held its corner. As for the 1.2 ND Filters being used. I'm not saying anything about using them as a bad thing what I am saying is that the Z1 has serious latitude problems and it wasn't even a sunny day. Now if I was shooting on anything else Digital whether it be a PD150 or Varicam I can guarantee I wouldn't need to use a 1.2 just to get some detail in an overcast sky. Cheers

Didn't use any wide angle adaptors. The crop was done in post. Basically taking 1 third of the image available. I had to remember this when I was setting up the shots, didn't bother masking the LCD. Post grading was done using Final Cut Pro's colour correction tool and the infamous Magic Bullit. Finally the motion texting was done in After Effects. During the camera tests we decided not to move the camera (pans or tilts) for the actual shoot as the HDV Codec sucks big time when you have any camera movement (motion artifacts etc etc etc). Just to give you an idea of how bad the latitude on this camcorder is.......there was a couple of shots where I had to use a 1.2 ND Grad just to get a properly exposed image, thats a whole 4 stops. Thanks for all the comments.

Actress with a big mouth........how about Bet Midler?

Hi Folks, Just uploaded a recent project I shot for a client. Using the Sony Z1 (PAL) and was graded in post. Apologies for the size of the file (65Mb) but the quicktime codec retains the image quality really well. Almost forgot to say that the movie is presented in a seriously SUPERWIDE aspect, so when I was framing shots I had to remind myself the director was only interested in 1/3 of the image. Not overly impressed with the grading but thats the feel the director wanted. Anyways, go to the the link below and click on the recent projects page. Comments and feedback always welcome. www.steadicams.com I'm the one in the red jacket.......doing my cameo appearance. One last thing, the movie was shown on a giant 60ft wide screen and took over 36 hours to render the grading.

There was one for sale on ebay a few weeks ago, don't think it sold so do a search.

As far as I know I believe the OB used a mixture of Sony 950's and 550's Triax Cameras. I don't believe they're HD.

I remember a time, way back, when you tried to stop lenses flairing....now its art! I guess thats progress.

Actually, I think we could possibly tie this thread into cinematography....here goes. We could blame Luc Besson for London winning the 2012 bid. If he had shot a half decent promo film for the French bid, Phil would'nt have had to worry about his commuting......

Developed film definetly weighs more especially if you use HEAVY WATER in the chemicals....

I was one of the first (early) adoptors of the Sony DSR500 here in the UK some 6 years ago now. So I know the camera pretty well, inside and out. Surprisingly I downsized to the DVX100a about a year ago and I can honestly say the little DVX is a much better camera. Regardless of chip set size and fuctionality of the the cameras the DVX would win hands down if I had to select one or other to shoot on. It's that old adage again...."it's not the size that counts, it's what you can do with it". Why? Progressive scan and matrix functionality on the DVX. I've shot stuff using the P&S Mini35mm with some film lenses and the results are absolutely, positivelly superb. Oh! and its a damn sight cheaper to buy and insure. YES the DSR has a better resolution but the DVX is just more film like when you play with the settings. Just my 2cents worth

Forgot to say: I agree with Sean Morrris's post regarding chip sets and electronics but as for saying its a "FAR SUPERIOR CAMERA" what a load of old bollocks that comment is.

I was one of the first (early) adoptors of the Sony DSR500 here in the UK some 6 years ago now. So I know the camera pretty well, inside and out. Surprisingly I downsized to the DVX100a about a year ago and I can honestly say the little DVX is a much better camera. Regardless of chip set size and fuctionality of the the cameras the DVX would win hands down if I had to select one or other to shoot on. It's that old adage again...."it's not the size that counts, it's what you can do with it". Why? Progressive scan and matrix functionality on the DVX. I've shot stuff using the P&S Mini35mm with some film lenses and the results are absolutely, positivelly superb. Oh! and its a damn sight cheaper to buy and insure. YES the DSR has a better resolution but the DVX is just more film like when you play with the settings. Just my 2cents worth