Anna Baltl

Hi, I am looking for an Arriscope 50mm Lens for an art project. Has anyone used Arriscopes in the last years and is able to help me out with contacts of any sorts? Location is not an issue. We are through with the obvious Arri group contacts and bigger european rental houses. Any hints would be great, Anna

hey, I would love to hear if anyone has experience with recording sound and shooting with the moviecam SL. We are planing to use the SL for a short film with interior scenes/dialog, however director and dop agreed that they would not be that picky with sound ... i am still not sure if that is a good idea. any experiences... could we get away with it? thanks!

Hey Patrick, I would think that the NAC Rental would be able to do that or provide you with the right contacts. Sice they are the authorized arri rental in Tokyo and are close with arri media. http://filmdigital.nacinc.jp/ hope it will work out best from vienna anna

ill be there all week. would be nice to meet some new faces ... if anyone is up for a beer shoot me a message.

ive just been ac´ing on a coupple of music videos using a letus and canon photo lenses. the mount of the adapter can be changed easily and the photo lenses came from ebay for about 30euros a piece. i was using a heden/fox remote focus without problems on crane and steady cam. so thats the ultra-supa-extra low budget version. and for the stuff we were shooting the optical quality was just right.

haha! well he was having this talk with the audience ... funny as hell. he was the running gag for the rest of the 7 days festival. he had a lot of good stories to tell and managed to hit at the girls in the front row at the same time ... thats pro!

Winners of Plus Camerimage 2007 Announced: Main Competition Golden Frog - Grand Prix: The Diving Bell and the Butterfly Cinematographer: Janusz Kamiński Silver Frog: Across the Universe Cinematographer: Bruno Delbonnel Bronze Frog: I?m not There Cinematographer: Edward Lachman Student Film Competition Golden Tadpole - Laszlo Kovacs Award: Beyond the Horizon Cinematographer: Tomasz Woźniczka Receiving also Award From the Association of Polish Filmmakers Silver Tadpole: My Father is Sleeping Cinematographer: Raphael Beinder Bronze Tadpole: Father Cinematographer: Michał Sobociński Special Award for Best Picture Technique in Student Film Competition. Founded by Panavision Film: Milan Cinematographer: Felix Novo de Oliveira Polish Film Competition Best Polish Film: Tricks Cinematographer: Adam Bajerski Nokia Mobile Movie Competition Jury Award: Angela Święc Audience Award: James Kambeitz Osram Award ?Light for Art" For: La Varsovienne Cinematographer: Weronika Bilska Personally my second fave would have been "Control" by Anton Corbijn but im not brett ratner (jury president)

his appearence shocked me quite a bit at this years camerimage he was talking to students opening with a sentence like: "film schools are only good for your sexlife, but how would i know? i never went!" and he got huge minus points from me for making really poor and sexist comments about how every whore likes her job but in the end it doesent change anything about the fact that some of his films actually got me into cinematography in the first place. and once the people came over his rockstarish appearence and got him talking it was really refreshing to hear about his truly instinct driven work and how he preceives what he sees. i remember that the meeting was videotaped and i think that it will appear at some point on the internet.

the making of http://redcamservice.eu/vids/hbstrkmkof.html actually a surprisingly nice one ... i like the fight scenes where electricians and grips wrestle 8 stairflights with tonns of equipment in their hands (my body remembered that show particularly well)

my two zloty (right out of warsaw where im waiting for the camerimage to begin) times seem to be changing a lot ... wherever ive worked (japan, uk, austria) i saw more and more girls in the lower ranks of camera departments, its just a question of time untill they will grow up to go wherever they want to. i remember, when i was about 10 years old i was very clear about my future and distinctively told someone that i want to become a documentary camera person for one particular nature show on austrian/german tv and this guy whoever it was told me straight to my face that women cant become camera men. and i also remeber my mother yelling at this guy and using many words that i hadent even heard up untill then. (because they came out of the political conzept of feminism, of course) anyways thanks to my mum i guess, i find myself well beyond these struggles. i would absolutely say that socialisation is a huge limitation for some girls, but i also see that its also something girls and guys can grow out of, ive seen that happen to many of my friends especially in filmmaking. personally i just love my job. ive jut started acing after coming the ranks from being a trainee in japan. you could probably catch me taking way too much pride in my job, and talking you boared about this and that shoot with this and that camera. i regularly do that to the guys i work with. as far as work and lifting goes, i agree very much with annie. no one can make me believe that carrying heavy cases is more or less fun for anyone, it just isnt fun at all, but nessecary. also very true i find is that it is just time to approach the whole women/men discussion from different point of views. its obvious that there are differences. and life wouldent be half the fun if wed all be the same. and therefore the most important thing is (im almost tempted to go capitals on this scentence) the most important thing is that we work together. because out of the combination of male and female qualities the most interessting things are created. be it in the camera department or in evolution. if nature proves so much then it definetly proves that. from my experience people get jobs because of what they know, and get hired again if they were good at it. be it man woman or warhorse. and aswell im sure that the forementioned three also feel insecure when first learning the job and having to prove the first few times that they can do it. it just becomes easier over the time and eventually you forget how it even felt. aw and the so often mentioned role models... i accidentally stumbled across a pa'ing job for an independent short, so i found myself on a set knowing exactly nothing about filmmaking but as soon as i had figured out who was doing what (took me almost 2 days) i was very much drawn to what i used do call "the magic department" guess what that is... so the two guys making up the department alex and alex who seamed like the impersonated mc guyvers to me became my role models and are untill today, especially when it comes to creative missuse of equipment.

ill be there from the first day to the last! (overly excited about it) would be nice to meet up ...

aw dont be shy! we should get drunk, ah i mean we should get together what about wednesday next week?

hi there, just back from living and assisting in japan, with a short stopover in Vienna i find myself in England and quite like it here. The past 6 months i spent with japanese music videos and commercials, working only in the japanese system. Im really interested in learning more about crew structures and the way to work around here. basically clueless id just like to sit and chat over a beer .. in exchange ill be happy to share some stories from japan/china/austria if interested. ill attach my cv, id be happy about comments on that one if anyone wants to take their time, anna CV_Anna_Baltl_160907_2.doc

with the pro 35 it also depends a lot on the lenses used, i really like the look it creates together with the master primes a lot. it seemes to me very suitable for filming human skin, because it makes it look very realistic as opposed to somewhat crisper lenses. anyways... i would admit that the picture gets slightly softened. but i guess that is the price you have to pay for the depht of field. its no problem with the variable frame rates just dont forget to adjust the speed of the pro35 every time you change the frame rate. for that its the easiest to stop the lense down till about 5.6 and double ckeck on a monitor if possible. a 9" (eg. btlh900) monitor mounted on the camera handle makes working with that combination really comfortable ...

we use this combination a lot and never (!) without an LH900 http://www.expandore.com/product/Panasonic...tor/BTLH900.htm monitor on board mounted to the handle of the camera with some short photogrip extention that is really fast to take of and easy to adjust. using a magic arm only if really necesary because it takes a long while to adjust it right. the LH900 can displyay sd and hd and if you wire it up with the base it can also display previews. if you set the peaking to max its really easy and reliable to eye focus. and yes the backfocus is a pain if the camera gets to hot one can never be careful enouh with that though all that i found that it is quite a reliable combination and the pictures are ok too. have fun with it!