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Eric H

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About Eric H

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  • Occupation
    Cinematographer
  • Location
    New York

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  • Website URL
    http://www.spitfirefilms.com
  1. I think there is a typo in the original post. William must have meant Arri 2c, not 3c. However, I think the number of baffles is correct at 2 or maybe 3.
  2. Ahhh, the old days of optical viewfinders.....The vertical line are light baffles.
  3. I just bought these for use with a Jib Arm. I like them very much and fits your requirements. I don't work for this company, just use their stuff. http://www.came-tv.com/load-110kilo-242-lbs-video-heavy-tripod-for-camera-jib-arm-p-62.html They only had one size when I bought it - the big one. $400 included shipping!
  4. What format are you shooting on and how is it being released? Eric Halberstadt
  5. I think 16 and S16 is a fabulous format. If one knows how to light and expose properly, not taking into account any creative or technical decisions. When handled correctly in post you would be hard pressed to see much of a difference. especially on TV. Why wouldn't you use 110 for a shoot if that format best represented the style/creative of the shoot. I use S8 all the time and often alongside S35,RED, ALEXA. I just used S8 alongside the Phantom Flex and 5D... Use the tool that's best for the job. it would be nice though to get that 2A up and running again though...convert to 3 perf and you can use it as an everyday B camera. Eric Halberstadt DP
  6. hello...I have my 6 month old DP1 for sale...this is a great opportunity for any european buyers as I am in Europe right now (Holland).what you get is the DP1 with Neoprene sunshade and Neoprene case. I will also throw in an HDMI cable and power cable....what I want is €600if you want one battery with it.....the total price will be €675....If you want two batteries...then €750......I really want to keep the batteries for my DP6 but can part with them and replace them later.contact me off - list with questions and I will email some pictures too... Eric
  7. sometimes what you don't see is better than what you do. A int/night pool hall is something we all have a picture of in our head. So, what makes a pool hall busy? how many tables are there... 2, 4 or 20? does the actor stop and deliver dialogue? but probably the biggest issue you'll have is to light this yourself because of your crew limitations. Working in you favor is the 500 asa. I personally prefer Vision3 and it sometimes takes a lot of work to underexpose when you are lighting....I usually start turning off my units. maybe if you think you need more fill and you don't see the top of a pool table or two, you can place some poly on the table and bounce the overhead back up..........but back to my original idea...to make it look busy without seeing everything is also solvable in the sound mix...a dark pool hall can sound busy too...no? maybe it's good to watch a few films with pool hall scenes....it's easy to see where the light comes from when it's a dark scene. Less easy to identify the units used but at least you can get an idea of where they were hidden. I hope this helps... Eric
  8. couple weeks ago I shot with a two R1's, build 30, original sensor. lens was a Angeniuex 17-102 on one camera and an HR on the other. I had a similar issue in the R an G channels on the camera with the 17-102.....I approached the tech at the rental house...some additional tests were shot and this is the response I received from the rental house. What I see is called lateral chromatic aberration, which has to do with a lens and digital camera combination. This can happen on the wide and long end of a zoomlens, and shows up in high contrast images. and Early this afternoon I shot an extended test with the Angenieux 17-102. I can confirm that the lens has a lateral chromatic aberration issue over the whole zoom range on the Red One. The problem behaves different on both ends and midrange of the zoom, and becomes less a problem when you stop the lens down. the issue also seemed to be more pronounced when shooting at a wide aperture. I hope this helps... Eric
  9. I believe every filter can be slightly different, even if only a 1/10th of a stop. To know for sure what compensation your personal filters call for....run you spot meter through it with a grey card. Eric
  10. someone, somewhere is going to get a nasty surprise one morning in telecine......my suggestion to anyone who's not sure, is to run your spot meter thru anything that might require compensation...if you don't have a spot meter then use your still camera and watch the number of stop loss the meter says when you put your filter in front. If you use the camera method be sure to use a uniformly lit object, like the sky or the white cyc/limbo in a studio, or a grey card. good luck, Eric
  11. I have noticed recently that when I shoot Fuji filmstock (the 500T vivid) that it flares differently than let's say the Vision3 Kodak 7219. also there is more noticeable grain structure in the Fuji overall. Can anyone add their 2 cents to this? is it possible that the anti-halation backings on the stocks can transmit more or less light if the thicknesses were different and if one were to point a lighting unit directly at the lens the differences in the backings or emulsion layers in general react different? I even got to thinking that if the backing were thicker or thinner light could bounce off the pressure plate and cause halation from the rear. thanks to anyone with some insight on this... Eric Halberstadt
  12. I was wondering if anyone knows of the DoP rates for commercial/advertising production. while I am at it, how about the rates for the UK as well.. I know that there is probably wide range but I any info would me helpful. thanks, Eric
  13. my website is under construction? can't be. www.spitfirefilms.com or www.erichalberstadt.com
  14. I have used some filters thru www.camerafilters.co.uk made my Harrison called Blue/Grey...they come in a graduated set of 5 or 6 (don't really remember). I shoot tungsten balanced stock without correct and used a little CTB on my HMI's. the result is on my site....under recent work...it's all the Manpower spots towards the bottom of the page. I used at least one of the filters in camera and tweaked in post. As you can see, they all have a desaturated look, but there still is a lot of room to play in telecine. I posted a still here from one of the spots....I vaguely remember using one of the lightest filters on this and added 1/8 CTB to my HMI backlight It was cloudy out and the color temperature was up near 6500-7000 Kelvin. if you can get your hands on some filters...it's easy to test nowadays with your trusty DSLR. Eric Halberstadt www.spitfirefilms.com
  15. without asking some simple questions like.....is it a smudge or a scratch? then........(take a picture of the lens element and post it here.) do NOT use acetone or lighter fluid, unless you want to destroy your lens or start a new look. if you just put a simple thumb print on your lens, some lens cleaning solution and lens cloth will remove it. Eric
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