Kieran Scannell

No cons! I've used it a lot since purchasing about a month ago. It is a great tool for sourcing lights without having to consult a gaffer first. You find out just how much stuff is out there to do the job!! I paid about 20 euro I think. Worth every penny! I have no connection with the maker whatsoever. ( except maybe country of birth:-) )

I had very poor expectations for this year after a couple of dismal previous years, but it was a brilliant year for me! I worked solidly the whole year! Shot 8 commercials, a documentary that I will never forget and loads of other stuff that keep the chimney smoking. I got to go to Ethiopia for 3 wonderful weeks, Los Angeles, Mexico, It just wouldn't stop all year! In January I'm working in Brazil and New Zealand! No complaints! Wishing you all the jobs you want and a positive attitude in 2012! BTW. Got to shoot with Alexa! Oh deary me! What a camera!

"Nollaig Shona Daoibh" For those who speak Irish! ( I phoned my mum! )

The world moves on regardless of passion or quality. We've seen it time and time again. Film will never disappear It's just too beautiful, but it will become a niche market I feel. Maybe it already is!

My condolences to his family and friends. I type this on my MacBook Pro which is the best laptop computer I have ever used.

The Arriflex 435 is a movie camera product line created by Arri in 1995 to replace the Arriflex 35III line. The number reflects its position as a successor camera to the Arri III and the fact that it is designed for 35 mm film. The 435 cameras are specifically designed as MOS cameras, which means that they are conventionally considered to be too loud to record usable location sound. However, this also frees the camera up to be optimized for non-sync sound uses, particularly any filming which either doesn't require sound or shooting at non-sync speed, shooting in reverse, or ramping between different speeds. As such, its potential applications are widespread, and thus it is regularly used onmusic videos, commercials, second unit work on features, special effects work, and motion control, among other usage. It is currently considered to be the most popular 35 mm movie camera in usage[citation needed], due to its wide range of production adoption, intuitive design, high reliability, and retail availability. Rival Panavision even owns more 435s for rental than Arri's own hire houses; Panavision's, however, can be converted to Pan-435s where they are modified to accept Panavision lenses and accessories. In recognition of the achievements of the 435 system, AMPASawarded Arri a Scientific and Engineering Academy Award in 1999. A new FEM (Functional Expansion Module) was added in 2003 to increase the camera's electronic feature set. Arri integrated this into the new 435 Xtreme, which was released in 2004. The new functions included faster ramping speed capability, a wider ramping range which could go down to 0.1 frames per second, further motion control interface abilities, integrated lens electronics, and integrated wireless radio signalling. Three more accessories were released in 2005, exclusively for the 435 Advanced and 435 Xtreme: a hand-crank extension, a timing shift box to offset the phasing, and a remote LCD control panel designed for use on the "dumb side" of the camera. long live Wikipedia! And there are lots of lenses available. I think there's someone in Mumbai who has one!

Wow! The middle class English are alive and well and living in Cinematography.com Who would have thought! For me this a deplorable statement and I sincerely hope It's a joke! I personally work with people who have all sorts of differences be it tattoos, piercings, clothes, culture, I could care less! As long as they are professional and proficient in there job. What a load of bollocks! Tattoos! get real!!

It's funny how horny women always seem to be in cities where we don't live! Great article Phil!

Absolutely John! But one does wonder how this thing would perform! Given a price of around $7,000! I really wouldn't be too bothered about resale. Support of course is crucial! I can't afford a Red or Alexa but this I could stretch to, and I think I may be there target :-)

http://vimeo.com/28233165

Nice Travis! Nice!

Thanks once again for your generous posts David! I agree with Stuart this looks like some of your best work so far! Why don't you use the meter to set your exposure?

If you fancy travelling mail this guy. lex@fourcorners.nl They're a small company in Holland not really in TV but do a lot of commercials and high end corporate films. I've shot a lot for them over the last 3 yrs and they're really good in every way, something you don't come by much in this business! Big on interns and education! Just took on an fx student from China! Paid for his visa!

Thanks Guy!

Yeah! But are they any good Guy?:-)

Beautiful work Stephen your best so far I think! This should get you noticed at last!!

http://www.cinema5d....ag=cineroid-evf This is the best little EVF I've used so far. Has a loop through function for 2nd LCD for focus puller or director. But the 5D changes monitor resolution in record mode so I don't know if the cineroid would have issues with that, have to check!

Shooting a commercial next week, anything to watch out for? Comes with 2 grips for some reason?

just leaving the spelling arguments aside for a moment! I think the evocation of hell can be done in many ways. The example of Scorcese is a good one I feel because he always keeps it simple and graphic. He also did it beautifully in The Departed with Costello throwing clouds of cocaine also bathed in red light. It's the simple images done right that remain the longest in the memory. You can spend a lot of time depicting hell, keep it simple and evocative.

Just to add, I wasn't demanding your credentials but you make such bold claims about a camera you have never actually shot with! I'm sure your an excellent cameraman!

I would love to shoot with the RED EPIC ! Having shot various things with the RED MX which I think is an excellent camera, the best digital camera I've shot so far! Having said that I shot a commercial last week on the F3 and on the field monitor it looked very impressive! Yet to see the final results. The point I'm trying to make ( and Stuart who is a feature film DP!) is that we try to base our comments on actual experience. Then we all benefit!

Yes! Andrew. Show us something you shot on the RED EPIC. That would at least be confirmation of your credentials!

Yes I got that it was for fill, it's just not going to be very effective. I wouldn't go to the bother of hiring a generator for 1 1k light! That's just silly! And shadow's on faces are not necessarily bad especially at a location that's rich with shadows. You really need to know how you want it to look Phil and then kit up appropriately. If you have no other possibilities I would forget the genny and invest in some reflection.

On a sunny day you'll be pushed to get much out of a 1k in a forest! Forests soak up a lot of light even on a bright day. Also light plays and bounces as the sun moves which you have no real control over except using mirrors or some large bounce material and to get control you need some big HMI sources 2.5K+. If your inexperienced with light I would hire an experienced gaffer or at least consult one. plus side is I'm presuming you meant Fuji 64D stock, which is a beautiful stock for a forest.

Looks really good as always Ram, I'm testing the F3 this week with master primes can you give me your impressions? I'm guessing when you say "the amazing F3 you have some positive feedback.