Allen Achterberg

one might guess I use my real name, who'd make up Achterberg? The Forum may not know if someone uses their real name, but there are so many people who use this site, if someone is remotely involved with this work that it is very likely that there is more than one person can vouch for their legitimacy on this forum. I know I've seen professionals even former highschool buddies on here and could vouch for them.

I joined when I was 17, back in '04. I was happy to use my real name, I want my name to be know to all of you. Many of who'm I respect very much. Names on the posts add greatly to my trust in them.

I've got one, it was one hell of a wrap gift from the DP.

good job ben, glad to see you gettin use out of that thing.

I saw that too and was proud of you! Congrats!

Thanks David, seems like I see you in there ever other month. You've done some good articles for Student Filmmaker Magazine, Kevin Zanit too.

page 34, I saw my name. They spelled my last name wrong which is understandable, not an easy name. I don't care that they spelled it wrong, my name is in there and for that I am so happy I framed the article and page. I am more than pleased.

You should do everything you can do in order to feel comfortable with getting the shot in focus, Long lens stuff is tough, especially when you have both subject and camera movement, thats what makes being a focus puller so tough. talk with your DP, see if he's willing to give you a workable stop, that will benefit you. if pulling with a remote have a reference monitor to glance at, it is helpful. a lazer tape can be helpful, I'd personally prefer some eye marks at distances like that. it is also very important to know your DOF, know when that subject is acceptably sharp and at what distance the subject will go soft, and be prepared for it.

Allen

I have seen quite a few.

 

I've had filmouts of my own and check in pretty regularly to see what's going on w/ D.I.'s and film outs. This did not compare favorably to a digital projection.

 

Am I criticizing the DP? No. The print I saw looked unsatisfactory in my opinion. As an HVX owner, I had hopes of using this workflow myself.

ignoring 2nd units opening shot, and few others later in the movie, I personally thought the print was more than satisfactory. You cannot expect it to look like a 35mm hollywood Budgeted project. It was shot with a prosumer camcorder and Nikon Lenses. Be realistic with what that can accomplish.

Well I just watched the trailer on their sight and was blown away that it was shot on an HVX.

I wish the DP would log in and discuss.

I was first assistant Camera for the feature. I'll tell Andy to get in touch with you guys if you have questions for him.

You'd be surprised how fast some lenses misfocus at the deep red end of the spectrum.

 

-Sam

So Some Lenses will do this? Is this something that should have been tested before we shot the scene?

thanks for the responses. the lady confused the hell out of me on that one. I thought I'd ask around because she was pretty strong about making sure I knew what she was talking about.

Thanks!

I'm pulling on a feature. Something came up today that I'd never really thought about or really heard about. It was a Dark Room Scene, flooded with red light. The DP Asked if I knew that there was a Difference in focus distances due to us exposing mostly only the red channel. I said yes, but I did not. So I called around to learn the scoop on this before I just ignored it.

What I was told was to Eye Focus. That's what I did while shooting the scene. I'll hear about the dailies tomorrow I'm sure.

Anyone have experience with this want to help out a bit?

Thanks in advanced!

Allen

I get in good moods where I' proud of my photography, then I watch movies like The Astronaut Farmer, and it puts it all back into perspective for me...But I'll continue to dream. It's nice I can tell you that you are an Inspiration to me David, and you get to read it. Like fan mail, that you want to read!

Great Job! B)

a 16SR would be a very good option for you. if you lucky you can find one for the price of the Ikonoskop A-Cam, I'd go with the SR personally.

Did you see this thread?

http://www.cinematography.com/forum2004/in...showtopic=17799

 

Can't be done with a PL mount, so there's probably no way to do it with a B mount either (they have the same FFD). But you could buy the Lomos and have them remounted. I've heard that only the round front anamorphics can be remounted to PL (and presumably to B mount as well) -- maybe Olex can confirm that?

Did not see that thread. I'm not looking to adapt the lenses, I'd like to know if the can be remounted.

Much appreciated

another good option for you would be in my opinion the Ikonoskop A-Cam SP-16. It's a Super 16 Camera, and it's actually brand new. Take a look http://www.ikonoskop.se/gallery/index.asp

I think you'd go to Pro8mm to pick one up if in the USA. The only downside in my opinion is that it does not have a reflex finder! but if you later on grab another 3-6k you can have DU-ALL Camera in NY install either a Video Tap, or a reflext viewfinder. Comes with a 9mm Lens, which is cool to have for extreme sports.

just letting you know that exists. Good luck on your Choice of Camera! Also, you can browse eBay, sometimes you can find a 16SR for around 5-6k with a lens and necessary accessories.

All the Best

OCT18 or OCT19 to Arri B-Mount? Can this conversion be Done? The reason I ask, is because I have an Arriflex 35BL II, and am too Poor to really get some better Lenses, or throw a PL mount on it (Although there was one floating around on eBay not long ago for $750... :( ) and am curious on learning the possibility of using LOMO anamorphics with my BL II which stands with a B mount still.

thanks in advanced fellas.

Allen

I assume you're taking a shot at me with this comment, but that's fine. I AM one to argue when I believe in something, and I AM one to nit pick when it concerns my career and the quality of my work and the work of the crew working with me. I don't think there's anything wrong with that.

I was not taking a shot at you? What is your Deal Man?!!! I wanted the point to end there...as it should have because this has become rediculous!

And to Jason J. Debus;

First off, where do you and brad get that I have an attitude issue? There's no attitude...if we were having a personal conversation about the issue, and Brad said what he said to me personally, we wouldn't be having an issue like this on an online forum!

I appreciate his comments as well. I have no need to argue against them, Now I do however feel that he is looking for trouble with me for no apparent reason. I Do infact have credits as a 1st Assistant Camera under my belt believe it or not. My intentions were never to claim that I was something special, but rather to admit to never having an issue keeping a shot in focus with how I do things.

There's no need to argue the matter, which seems to be whether I'm full of crap or not as I continue to get AC work. Since I continue to get work as an AC (At 19 mind you...) I'm guessing I'm not half bad at the job...

So, I ask politely...Do not judge me or my abilities based on a frickin thread... And don't assume I'm full of crap...

we'll leave it at that Brad, I'm not one to argue...or to nit pick

Never given a soft shot? Sorry, but I don't believe you. I've worked with some amazing 1st's, and I've seen at least a moment of softness from every single one of them. I'd love to say that I've never composed a shot poorly, but it's just not the case. No one is perfect.

If you don't want to measure and it works for you that's fine. It wouldn't bother me at all if I was operating as long as you weren't soft a lot. Most operators and DP's wouldn't mind I don't think. The problem is, if you make a mistake or two they're not going to ask you to get out your tape measure, they're going to ask the producer to start looking for a replacement. So if it's your ego that's keeping you from measuring, maybe you should re-consider.

it's not my ego that keeps me from measuring. No need to get all huffy and puffy over my claims. if you do not believe them, thats ok. To make things clear, I am not claiming that I am something special, or a focus God, but I will maintain that I've done very well without measuring with 2/3in optics.

I will not deny having a quick buzz, but it doesn't go unnoticed in the digital world with an HD monitor and someone's face constantly in it, but it's never been an issue for me, the take before was sharp all the way through, the take with a qucik buzz has useable footage, and the take after that is great. You act as if I am a Die Hard no measuring AC. I'm not. When necessary, I do. If I have doubts, I find the solution!

for the record, I've never been Fired, yet. Hopefully never. Been rewarded though...

Well, I would argue that it DOES matter. I like my pictures in focus thank you... If you're on a closeup at 150mm you will certainly notice if you're measuring from the wrong plane.

Some lenses (mainly ENG type video lenses) are measured from the front element. It can certainly throw some people off sometimes, but it's very easy to find out if you just spend a few minutes with the camera and a chart at the beginning of the job. Normally the front element lenses are about a foot off, so you'll be able to check it by your eye very easily. Once you know which it is, all is well.

Never given my DP a soft shot. Never ever had someone complain that something was soft in the Dailies.

I think I've AC'd once with a stock lens, and it was the XDCAM, we were testing the camera a good year or two back I believe. everything came back sharp. At the time, I was using a tape measure always with video.

If we were at 150mm, with a tight shot like you describe, I wouldn't measure it.

there's a marking on the body where the plane is. There should be anyway, most Higher end Camera's I've worked with there is. You measure from the Image Plane...NOT the front element, not like it really matters...there'll be room for error with video.

I generally don't even measure most video...more work than is needed sometimes.

:angry: Thats not FAIR!!!

yeah it is, great job man! Congratulations! :lol:

If I could find a 2-perf Mitchell I would soooo jump on it. (hey, so I love these old beasts)

Next best thing, at the price of a video camera.

http://cgi.ebay.com/Eclair-CM3-Techniscope...1QQcmdZViewItem

Carl Zeiss Jena Flektagon's

I forgot to mention, I will also consider trades for other S16mm and 35mm motion Picture equipment.

Thanks