Eric H

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.

Ahhh, the old days of optical viewfinders.....The vertical line are light baffles.

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!

What format are you shooting on and how is it being released? Eric Halberstadt

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

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

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

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

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

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

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

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

my website is under construction? can't be. www.spitfirefilms.com or www.erichalberstadt.com

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

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

all I can say is.........test the RED......under and over exposure and at exposure.....open it in post, crush it in post.....add grain in AE or in the Flame.... it's the only way you'll know if you like it or not and whether it works for the project.. I like the RED, because of one single reason....it has added to the way I can express what I am going to shoot. Being a DP that comes from a film background, I treat the RED as if I have a new emulsion. whether it's 7201, 5219, Eterna or the HVX200....they all have a certain level of performance that will apply to a certain task...knowing their parameters will help you decide what works for each shoot. Personally, I don't like the noise that the RED or any digital form produces when under-exposed...that doesn't mean I won't use it if the story says I need noise. I just try to be involved in the post process to have some say in where it all goes. Eric

I just had a shoot that the last hour or two of the day had to match a somewhat sunset scene... I agree with Chris...use Tungsten if you have total control, but in my case...the ambient was way too cool at the start of the shot.... the background was a line of cliffs a mile away and was going to dictate the color balance on the lamp. I used an 18k clean and then added CTO as the cliff line warmed up as the sun went down.....I was able to shoot after the sun dropped as the cliffs were higher and caught the sun longer....they also warmed up quite a bit.... In the end, in post they (the director, colorist, whoever..) desat'd the whole thing anyway. Eric

is the bathroom well furnished...is it a tenement style bathroom with peeling paint, etc? if the feeling is stark.....keep it simple... a single practical bulb on a dimmer..set it, forget it...(well, your gaffer will keep an eye on it) Eric Halberstadt

I don't that one can say he used one type of filter or type of lamp, especially on a film like this. An 81B is used to make a slight correction in color temperature. Eric Halberstadt

hello all.......I will be using a set of uncoated Zeiss Super Speeds in a few weeks and wanted to show the director a few examples of the look. if anyone can offer up some websites or clips of the said lenses in use please post them here or email me off list. in relation to this, I haven't chosen my film stock yet, so maybe if the stock is known on any of the clips of examples that would be appreciated too. best to all, Eric Halberstadt

<Eric that setup is cool. Do you think it would be bright enough for my purpose.> Yes it is... but no it isn't. A 4ft Ringlite loaded with 18-20 ph213 bulbs using no Diffusion will get you 4 - 5.6 at 7-10ft at 50asa. That will also buy you some cushion to go high speed.. and you can always use Nds at 24fps etc... You will then need something even BIGGER for the back-'effect'-light thru the Board.... your mentioning Zenon is the right direction. I would think a 4kPar at the very least. On the other hand, maybe the Zenon might not cover the amount of Backliight you need and you want to go 12k Par..... Go BIG! David, you are absolutely right..........be prepared to shoot high speed so you gonna need even more stop. Eric

I would say that my set up will not allow enough light for you. Although, I shoot 95% film, I have used the HVX a lot, both with the Mini35 adaptor and without. I don't like the adaptor very much in certain situations.....yours being one of them...I use the Schneider Optics 2x teleconverter when I want a narrow DoF. works great and gives you loads more stop....look on my website for the Nuon Solar Race spot...I shot that entirely on the HVX with the 2x teleconverter, .75 WA adaptor and the fisheye adaptor....every shot was with the hvx and schneider set up. Eric

Here's a picture of the most recent ringlight I made.... the two small holes are for the Arri 19mm support rods. Eric

I take it you are shooting on video? which camera? lay down all the specifics if you have them....it'll be easier to form a solution. You mentioned 50 ASA rated setup....even on film that'll mean a lot of light will be needed at 7-10 feet. I shot a group of 8 -10 people in 2 rows at 10 feet away, I held a 3 shot most of the time. Using an old home made ring light and shooting on 500ASA I barely had a 2.8, maybe less(if I recall correctly). I just made a new ring light from Ikea LED strips........Used 32 strips in a wagon wheel pattern. I allowed for a 6" round hole in the middle of a piece of foamcore. the color temp was roughly a bit more than daylight.....and with my meter set for 500ASA at 24/25 fps....was reading a 4/5.6 at 4 feet.....I am planning to add another round of LED's to boost the output. I use this light and it cost me about 240 euros to build. this config won't answer your requirements though. Eric

How wide of a shot are you planning? Eric