Adrian Sierkowski

I'm also going to chime in here and suggest picking up a kinda cheap film SLR, such as the Nikon FM10 (i've owned 3 of these cameras in my time.) Go out buy some film; color neg, color slide, b/w, in different ASAs (ISOs) and go out and shoot! Not only can you begin to learn composition but you'll see how color temperature effects a negative, how much information a negative can hold etc and you'll get a good idea how different film stocks differ. It's not going to be a direct approximation to cinematography, but it's a good sound building block, IMHO, and allows you to make mistakes without spending too much money (figure $10 for a roll of film and another $10 for processing; just shoot a roll a week!). Over time you can even start buying new lenses (I'm a sucker for the Nikon E Series F1.8 50MM), used from places like BH and learn how the focal lengths effect such things as DoF, etc. (Also a lot of people are using prime adapters on DV/HD prosumer cameras now, generally in a Nikon or a Cannon mount, so you'll also be amassing a set of lenses you can take with you on such shoots!) Just my 2 cents.

Thanks to anyone who was looking, but I tracked one down out in Ohio. :D

Hey everyone; I'm looking for an Arri Shoulder set (k2.41460.0 in the catalogue) or something similar for my Arri Sr3 Drop me an line if you have something that'll work! Best, ~Adrian

I totally agree that hiring should be based on talent not equipment, but if you are set on owning a camera, I would definitely suggest the HVX. I've shot both, and while they both can look amazing, I think the HVX might win out if only for the fact that it shoots a "true" hd format without tape. While you will have to learn a new workflow, like I did when I first picked it up; once you get it down pat, it can be a very versatile camera. Though I also found the HVX falls apart in low light. Owning a camera can feel very rewarding, and it also can be a money-pit. I've sunk a lot of cash into my SR3. Granted it's a film camera, but the HVX has it's own hidden costs as well. You have to square yourself up against whether or not you're 1) able and 2) willing to make a large investment without any guarantees. The HVX could be outdated tomorrow by a newer HD camera. My Arri may eventually find a place on the shelf. Or, worse yet, they could break/be broken/stolen on a shoot. I can't even tell you how much of my grip hardware has wandered away! Don't let any of this frighten you, though. Just make sure you don't, as my dad used to say, run with your choke out. Weigh the pros and cons and do your research and you'll be fine . my 2 cents.

I share that fear of the HVX blacks.

I shot tanning beds on 7229 and I can say they came out a very nice blue-purple color. Wear eye protection for people in there, though. They should have some 'round. Also, be informed the beds normally have little fans in them, can cause some audio problems.

I am definitely going to head down there to inspect it. The seller has at least furnished me with images and been very prompt in replying, I'm just wary that my eyes and heart don't override my mind.

I would wait, but unfortunately, I have committed projects already for the S16mm format. Further, the RED is as of yet, a relatively untested platform which doesn't do any good for post-workflows out here in Philadelphia. Film has been around a lot longer than any digital format, and it is in my own opinion very matured as a medium. Aside from that, if need by I could rent a red, for certain, and still use all the accessories for the Arri. I wish I could wait until the end of the year; but the holiday shopping season is always a hassle. Back to the point at hand, anyone ever have dealings with Luna Tech? He wants the money by wire transfer, is this normal? What risks are involved? I implore answers, please; 30,000+ is a large chunk of change to part with.

the "p" stands for progressive, as it woudl be in actual motion picture film, in 24p, 24 individual images, instead of "i" which is interlaced (60i/1080i) where the image is formed by two fields recorded at slightly different times. This being the case, so far as I know progressive images give higher quality and resolution and are necessary for a film out. not 100% sure on all of that, but I think I got it mostly right.

I think I might've found an SR3 package for sale from a company called luna tech (replied to me off of an inquiry on optalillumina.com). Anyone ever hear of them? Good news, bad news? aside from that I'm still considering the XTR now after looking over the package Nathan posted and have an e mail into visual products still on the sr2 as a backup. Any advice woudl be great, my poor little head is spinning in the sea of wants v needs.

Wow, that is a beautiful package. I'll keep it under consideration. Would you mind e mailing me any information you have on that specific camera to crimson238@excite.com? And also any info on the xtera upgrade (and it's costs) Best ~Adrian

So, I am shopping for cameras, and I've settled on Arri. I had asked before whether or not an SR2 package I had scoped out was a good but and had heard that it was; but recently I saw an SR3 on mandy.com for 30,000. It's comparably equipped to the SR2 I was going to buy, most of the same accessories but I was wondering is it worth th extra money (which i had intended to invest in a set of super speed primes)? What are, then, the major differences from the SR3 to the SR2, and is the 3 really that much better of a camera? Is the Sr2 still professionally respectable, worthwhile, and rock steady? Any input would be amazing as I'm already worried enough to part with my $35000

Ahh the bolex is most definitely a robust piece of a equipment. First camera I ever shot 16mm on and it still has a fond place in my heart.

I agree that at first I was taken by the the trailer, but it felt as though it dragged on towards the end. I have to say I love the last shot where the detective goes, "I've never heard that word, what's it mean?"

I'm about to drop around 30G on an SR2 with a set of Primes. It's not, for me, about buying work or anything else, but rather about owning a camera which is totally mine for my use whenever I want. I don't think film will ever really "die," and, if anything it will form, perhaps, an "elite" look which many productions will strive for. The trust your gut advice is the best I've ever heard. But, also, look at it this way; can you afford to throw that money away without any reservations? If you can, then do so. For me, I just got lucky enough to get as big check via bad circumstances (death in family,) and as my dad worked in the industry for many years, I figured the best way to spend that money would be on something which will allow me to at least do my own work for many years.

Amazing stuff, especially the dedication!

That's always the problem of web files. Try exporting them with H.264 compression, but then you'd have to have some web space to host them (check voeh.com, I'm not sure but I think they allow larger filesize uploads for streaming). By the bye, what did you shoot this on?

I personally don't see what the big deal is. Yes, it's an amazing new tool at an amazing new price-point. But the question always becomes what happens when you're given a great tool without the budget to really optimize it. I remember I began shooting an Indie Bollywood film here on the F900. I tried to talk them out of it, as they were going to blow their entire equipment budget for a 3 hour long piece, on one camera rental. It didn't work, and we moved forward; until they realized that they couldn't afford the fun new tools. Everything is on hold now because of it, and chances are it will be on hold indefinitely. I worry about a lot of people who will accept any system on blind faith, or lack of forethought. The hubris of inexperience is always a hard thing to get around. That being said, though; I do welcome the RED. I would love to get my hands on one for some shooting, just to try it out. But, as with anything else and as has been mentioned many times before RED will not up-heave the film industry. If anything, as DV and now the newer HDV and DVCPROHD cameras have in the past done; Red MAY further democratize film making. And in the end, Democracy is a good thing.

It's not just about how much the USB can handle; it's more so about what the tape medium can handle. I am not sure, but i think MiniDV is limits to 25mb/s. Also there is major compression which comes into pplay between the CCDs on the chip and the tape you record on. Also, keep in mind a normal 3 chip CCD camera, IIRC, only converts to a 1.3megapixel still camera. There are much higher quality video cameras out there, but they are substantially more than 2000 quid.

Did you white balance the camera to correct for daylight? it also looks as though your focus is off to my eye. further, you're shooting on an overcast day; so essentially there isn't going to be too much contrast in the frame to begin with. You're working in SD off of a mini DV camera which isn't exactly the highest quality format made. I havn't used the camera you're using that I can recall, but I know from the extensive mini DV that I've shot that it often is a bit sub-par. In Premier Pro try upping the contrast by about 20% or so, which will give the illusion of much greater depth and dimension to the image and a camera such as that will always work best when you have a nice bright day to begin with. Just keep on experimenting and getting to know your camera. Also a still camera will always look better as it has higher resolution and is only taking 1 photograph, as opposed to 60 photographs (assuming a 1 second shutter speed on the still camera). That's just what i see, though.

Very beautiful shooting. reminds me a bit of the opening of the Reggio film Koyaanisqatsi. I love the time laps.

I could certainly use one of those in my living room. A conversation piece, as functional as it is artistic.

When in doubt blame an intern.

Best of luck. I'd've loved to have come down, but I got to the post too late :(

There was a book I read awhile ago "Confessions of an English Opium Eater" by Thomas de Quincey that I think could be made interesting. Aside from that, I'd like to try to pull off an adaptation of some of the epic poem work of Milton or Dante; the Inferno, or perhaps Paradise Lost.