Emanuel Schwermer, bvk

Hi 1sts, Im going to assist my long term DP from germany (Thomas Stokowski - www.stokowski.de) on a (for me) quiet big car commercial in, and around, the SF and Lake Tahoe area. We are going to use a Russian/UltimateArm. In europe I really like to use a Alfred Chrosziel Aladin Wireless Remote Control System for this application! I like the possibility to control, from one wireless unit, the focus and the iris, and from one other, the zoom axis (wireless operated by DP)! But I´m fearing, that the Aladin is not very common in the US west coast area and will not available for me (especially @ high session). By the way, I think i´m going to CheckOut @ Clairmont LA around the 15th. I will use a WRC and (if possible) the Aladin to wireless control everything without any cables. Don´t forget, with a (beloved by me) Nettman Stab C you can run the RCU signal via the head, not possible with a the FlightHead which is used with Russian/Ultimate Arm. Back to business: The LCS control. I´m (I´m Europe) and not the biggest fan of a Preston FIZ. The Aladin System is the only one I know, what is capable to control the Focus and Iris from one single wireless unit and the zoom from an other independent wireless unit, and this absolutely trustable, with just one receiver mounted on the cam. OK, I´m european, I could live with an Arri W-LCS Mark III System with a cabled extension for the Focus and one transmitter for Iris and the zoom axis (in the he DP´s hands). C-Motion availanle @ clairmont? But he don´t like to set the iris his-self (DP)! What can I do? Preston? I think in July it is not slow anyway in LA, and I´m shooting just a small (for LA average) commercial. Fearing clairmont will not take me really serious anyway! (Big advantage if somebody is a well known 1st in germany and just CheckingOut @ FGV Schmidle or Arri headquaters) But nobody can be well known everywhere! Any comments, any hints, any help? Somebody who will take some time to check my GearLists to check it just for clearly understanding in LA @ clairmont??? Please write me off-list, and i´m happy to send you my lists. All the best, Emanuel Emanuel Maximilian Schwermer, bvk 1st AC - DIT - Operator Adelheidstr. 7 80798 München Bavaria Germany fon. +49 - (0)89 - 347 214 fax. +49 - (0)89 - 288 049 31 cell. +49 - (0)172 - 86 12 942 mail. mail@firstcamera.de net. www.firstcamera.de

Colleagues, just wanna say I´m reading all your answers and your cogitations, thank you all for sharing! Although it was not my first intention to start such a deep discussion (just because my couple of cameras in my cellar), but now I think we´re getting into a extreme interesting area. I think we should invite Dayton Taylor to post his opinion as well, I will write him. I´m really looking forward to read more of your thoughts. Especially some more from you Dennis Kisilyov, your post was absolutely my highlight of the day, nicely written, on the point and sooo funny, Thanxx! All the best, Emanuel Schwermer DP / Munich-Germany PS. For the moderators: Sorry for cross posting. It was by accident. Please remove my posts from all other forums except this 35mill forum.

Hello all. Just to let you know, there is a "TimeFreezeRig" (MatrixEffect) available now in Munich/Germany, for the german and mid-europe market. The Rig is completely digital, (25 - 50 Canon EOS 30D Cameras), you can use the rig for 35mill, 16mill or HD Productions. We are delivering complete sequences, including all the postproduction! If you are interested in using such an "TimeSliceRig" in germany or mid-europe, please contact me off-list (mail@firstcamera.de). If you write me an email, you will get example clips and pics of the rig via email. All the best, Emanuel Maximilian Schwermer, bvk Soon we will launch our web side. www.timefreezefilms.de (unfortunately still under construction)

Hello all. Just to let you know, there is a "TimeFreezeRig" (MatrixEffectRig) available now in Munich/Germany, for the german and mid-europe market. The Rig is completely digital, (25 - 50 Canon EOS 30D Cameras), you can use the rig for 35mill, 16mill or HD Productions. We are delivering complete sequences, including all the postproduction! If you are interested in using such an "TimeSliceRig" in germany or mid-europe, please contact me off-list (mail@firstcamera.de). If you write me an email, you will get example clips and pics of the rig via email. All the best, Emanuel Maximilian Schwermer, bvk Soon we will launch our web side. www.timefreezefilms.de (unfortunately still under construction)

Hello all. Just to let you all know, there is a "TimeFreezeRig" (MatrixEffect) available now in Munich/Germany, for the german and mid-europe market. The Rig is completely digital, (25 - 50 Canon EOS 30D Cameras), you can use the rig for 35mill, 16mill or HD Productions. We are delivering complete sequences, including all the postproduction! If you are interested in using such an "TimeSliceRig" in germany or mid-europe, please contact me off-list (mail@firstcamera.de). If you write me an email, you will get example clips and pics of the rig via email. All the best, Emanuel Maximilian Schwermer, bvk Soon we will launch our web side. www.timefreezefilms.de (unfortunately still under construction)

Hello all. Just to let you all know, there is a "TimeFreezeRig" (MatrixEffect) available now in Munich/Germany, for the german and mid-europe market. The Rig is completely digital, (25 - 50 Canon EOS 30D Cameras), you can use the rig for 35mill, 16mill or HD Productions. We are delivering complete sequences, including all the postproduction! If you are interested in using such an "TimeSliceRig" in germany or mid-europe, please contact me off-list (mail@firstcamera.de). If you write me an email, you will get example clips and pics of the rig via email. All the best, Emanuel Maximilian Schwermer, bvk Soon we will launch our web side. www.timefreezefilms.de (unfortunately still under construction)

I use Tiffen Black Diffusion FX on almost every HD shooting with actors involved. The BDFX2 is realy nice for close up´s to gain a in focus diffusion. I really like them. But always hard to discuss about filters, not really objective. Cheers, Emanuel Operator/1st AC/ DIT Munich-Germany

Hello everybody, I have a question concerning white shading, let us say with an Sony HDW 750 Body. Imagine you are shooting a commercial for about a week. You checked all your Gear @ the rental house a day long and the rental house provided proper Lens Files for your Zooms or what ever. At the third day the DP is asking for a T-Rex Snorkel to shoot car interiors the next day. No problem, your HD rental house calls a Film rental house and is ordering a T-Rex Snorkel System with Sony B4 Mount (there is a Sony Mount Adapter what you can purchase with the T-Rex from P+S Technik). In the morning you set up your camera with the T-Rex like you ever did it in the Film world, the DP wants to shoot a high contrast scenery, like from the inner car through the windshield (for example). The DP looks to the monitor and- ohhh my goodness - you have bluish rims all around high contrast edges. Ok, you think, poop I forgot to recall the standard lens file. Recalled the standard lens file, everything is even worse. You find yourself in the middle of a major shading error. Creating a Lens File on Set? How to make it right? Thats my question. I did it with quiet good success: - Open File menu - go to Lens File page and select a file number that has no name or offset - name the file - open Maintenance menu - go to white shading - select V MOD to on - Aim the camera with the lens on to a absolutely flatly and even lit white card in a dark (shade) area (work with the grips and lots of black out stuff) Try everything to gain a perfect white area. - perform a camera white balance - using a vectorscope, switch calibration to variable and expand until white dot in center becomes fairly large - looking back on your White Shading menu page, you will find near the bottom a V MOD adjustment with four columns for R, G, B an M (master) - while observing this white dot on the vectorscope, adjust V MOD:M until the white dot becomes as circular/round as possible (not oval; must be round) - go back to the Lns File page in the File Menu - select Store File Dont forget, you can not store Lens Files on a Memory Stick, so the rental house is not able to send you a former lens file for your "ProblemLens" to your location, you have to create the Lens File in the Camera Body, you just can save the Lens File in the Body menus. I found this advice in the internet on the ZGC side, it was written for remedy shading problems with the Pro35 Adapter and worked quite well for me with the T-Rex, but not absolutely perfect. You guys have more advice for me to make this system work even more accurate? In Munich we have now two Arri Shift and Tilt sets with Sony B4 Mounts, same thing, you need to have a proper Lens File (white shading) to get rid of the chromatic aberrations. I think this problems will come up with every Film Lens System what is used just with a mechanical adaptor to fix the Lens on HD Camera Body, because Film Lenses are not calculated for the Prism System (3CCD) in a Video Camera. Any further hints? Thank you all. Cheers, Emanuel Emanuel Maximilian Schwermer, bvk 1st AC - DIT - Operator Munich-Germany

Hi guys, I checked out a HD Equipment today, HDW 750 (latest version and software), DigiPrimes, Panasonic HD LCD´s and so on. The 750 had a DownCon, LoopRec and a SlowShutterBoard (SLS) integrated. I´m not going to use the SLS Board on this shoot, but I checked it out. Once I was activating the SLS board I saw a couple of "dead pixels" (drop outs) - I saw star wars (-; I did before a enhanced automatic black level (balance) adjustment, with the SLS board not activated. This is what you regular do, to eliminate "dead pixels", right? Without the activated SLS board everything was fine - and without any "dead pixel". Once the SLS Board was activated the "dead pixel compensation" seemed to be without any effect - star wars again. I activated the enhanced black balance (holding the automatic black balance switch down for 30 sec´s or so), during the SLS board was activated - surprise - the HDW 750 started to eliminate the dead pixels while the SLS board was activated - took a while (more than 5 minutes) BUT:! The ABB function was not eliminating the dead pixels at the "speed" of 32 and 64 (Sony Style terms for what ever - simulating undercrancking). So, at all the "SonyStyleSpeeds" like 2F, 4F and so on (what does definitely not refer to 2fps, 4fps and so on) it was fine with eliminated dead pixels, but the 32F and the 64F function was full with this dead pixels - star wars again! Also after doing the "enhanced" ABB about five times (sometimes it takes a while and a couple of times doing ABB to eliminate a dead pixel) it seemed like this dead pixel elimination is just effecting the SSL board up to the SSL board function of 16F - from 32F on, I saw all the murdered pixels on this chip! (OK, don´t let us start a discussion @ this point about SunWinds, GammaRay´s and shipping a VideoCamera in an AirPlane - we all know this case.) Do you think it is just a "bug" on this camera body or software (or EPROM in Arri Language), or on all HDW 750´s? I will do a test soon with 3 or more 750`s with the integrated SLS Board. For me - after a long time working with HD Cam´s - this is a quiet interesting topic! What you guys are thinking? Cheers, Emanuel Emanuel Maximilian Schwermer, bvk 1st AC - DIT - Operator Adelheidstr. 7 80798 München Bavaria Germany fon. +49 - (0)89 - 347 214 fax. +49 - (0)89 - 288 049 31 cell. +49 - (0)172 - 86 12 942 mail. mail@firstcamera.de net. www.firstcamera.de

Hello HD Proffs., read all about this Inovision Probe System thing, but please allow me one question, if we use a snorkel, like a T-Rex Superscope System, or a Inovision Probe, designed for film use (35mill), with a HD Cam, is´nt there a Problem, because the Snorkel is calculated for a Film Plane? What I mean is, some Snorkel Systems, like the T-Rex do have an adaptor in the kit, to use this lovely Film device, for Sony Cameras with B4 Sony Mount - also Varicam or what ever, almost every 2/3`Chip Camera, right? But the adaptor is just a mechanical thing, just to get the lens/snorkel on/in the cam within the right "depth". Nothing is adapted concerning "filmplane" and prism. In terms of film, colors are after each other in the emulsion, right? In terms of Video colors are getting split, like in a prism (beamsplitter), like in every Video Cam, right? Just to leave this very simple, I know what I´m talking about, but maybe I can not write so understandable about what i mean in english because I´m german, sorry for that! I think you know what I´m talking about... For one Shoot I used a T-Rex wide open (T7) with a HD Cam for a interior set, in front of a curtain (window front), sun came in the window through the curtain - high, very high contrast ratio, within the frame. The footage, shot with the T-Rex on HDCAM Camera (F900), was almost not useable, we got that high chromatic ab´s, like blue rims around white things (pillows), it was even not to fix in a high class post process. So, OK, I heard about the Optex "Excellence" System, they do provide a HD adaptor. Is this a complete solution? I shot so many commercials (as AC) with the T-Rex in 35mill., we never had problems with chrom. aberations at T7 and high contr. circumstances. I heard about many people shooting with the T-Rex in HD, never heard about problems, did this people had an "HD adopter" for the T-Rex - this adaptor is for sure not provided by P+S Technik, the company manufacturing the T.Rex - I talked to them. You guys stopping down (lighting high) to T 16? Just a maybe stupid question, Emanuel 1st AC - Munich - Germany