Andrew Brinkhaus

I didn't operate on this film David, but my impression from the moments spent around the camera department is that it operated very smoothly. However, we did have one brief moment where the magazine was being suspiciously loud, as an AC, my instinct said it had something to do with the film coning up, and sure enough the 2nd had forgotten to engage the guide roller, so the edge of the film was rubbing against the lid of the magazine. The problem was quickly addressed, and we continued shooting. Surprisingly, the batteries for the 416 are great. They would last us 3 or 4 hours before we would have to change to a new one, and they have a handy LED strip on the side which shows a remaining life amount. Apart from that operator error, the camera ran flawlessly, and I will definitely select it in the future.

Chris, it is a sound film. We were scheduled to a 3/1 shooting ratio, but generally we were able to get our shots in one or two takes, so we tried to push ourselves, mentally, to a 2/1 ratio for safety. We did a lot of rehearsal. Also, it's S16, so a 400' can is close to 11 minutes, 5 cans, that's a pretty good amount for a 12 page script i'd say. Though...I'll never argue with shooting more film! The film was scanned in a supervised best light at Continental Orlando.

If you have RED specific questions, you will probably find more answers over at www.reduser.net.

11-16-07 Third and final day. Getting started this morning, we originally were going to be starting with the day exterior scene, but ended up shooting some interiors first. While the primary crew stayed inside to shoot, most of the grips and electrics moved to the exterior to prep and setup 2 12'x12' silks, several HMI's and some other accessories. Since all the interiors take place in the same location, the same lighting setup was used, with a few placement changes on the kino's and china balls. These shots got done quickly, and we moved outside. We were very fortunate to have a very chilly breeze, as the scenes were set in 1930's NY in the winter. I was worried that, being in Florida and all, the realism just wouldnt be there, visually. However, getting out to location, everyones cheeks were red, and people were sipping hot chocolate in the tent. To even out the frame, and start "fresh," I flew the two 12'x12' silks next to each other to flatten out the brownstone facade. Once this was done, I used a 6K Arrisun on a super crank to simulate a nice warm setting sun. I used an ND 1.2 in camera as well, in order to minimize depth of field. The scene was shot around an F/8. We finished shooting this scene early, and had time to get back to the studio to begin hard wrapping the interior set, and striking everything. After this was done, and the sun had set, we moved back outside with our primary equipment, and shot the opening establishing shot of the film, which included 500 pounds of white sand, to simulate snow, dirt, fog machines, a barrel fire, snow machines, and even a collectors' 1930's Chevy! This shot was lit with the 6K Arrisun HMI flown up, and punched through an 8'x8' silk, and a 1200W Sunray HMI to backlight the snow and fog. a few small tungsten sources were used for fill, on the actors standing around the barrel fire. Overall this was a great project, which I had a really fun time shooting. It's not every day you get to shoot such an interesting project, along with it being a period film. I'll be checking over dailies with everyone on Tuesday...Hoping for the best.

Actually Edgar, it's funny you ask, as we shot this entire film in 5 400' cans. Generally the shot ratio was 2/1

11-15-07 Call time this morning was 9, our first shots were some night interiors. After a scheduling conflict, our day and night exteriors, which were to be shot on the backlot were moved to Friday, so we made due, and covered the days material inside, shooting mostly night scenes. The bedroom of the set was built with an opened doorway into the parlor, as well as a large window which revealed the alley way outside. These two structural areas gave me a lot of help in motivating my light. Since the family is living without power, everything comes from either moon light, or candle light. I was able to use 2- 2K BJ's outside the window, again with 1/2 CTB and 1/4 + Green to spill in, and several more 100W china balls on Flicker masters to simulate the candles. Apart from the overhead rigging of a few kino's, 500W china's, and the fresnel 1K's for simulating the wall candles, the 100W china's were my main source of light. They were rigged off C-stands, and moved into position for each setup. Today required getting the most shots off of all three days, somewhere around 25 shots. We cranked out our primaries by 6pm, and were able to shoot several high speed sfx shots of a candle falling from the piano, and igniting a piece of sheet music. Tomorrow is mostly exteriors, both day and night, the weather report is good, apart from being partly cloudy.

Unable to edit reservations, next journal follows.

Reserved for day 3.

Reserved for day 2.

THE MASTER Amidst the depression of the 1930's, a young piano prodigy struggles to save his family, and himself. Directors - Max Miller & Chris Adams Director of Photography - Andrew Brinkhaus Production Designer - Robert Gilpan Executive Producer - James Culinane Starring Jessica Blackmore Max Watson Blake Logan Ken Grant Milo Shtergv Logan Starr A 3 day shoot, I am shooting on Kodak's Vision2 7218, which is a 500T stock. Camera package includes a new ARRI 416 Plus, and an ARRI SRIII in S16mm. 11-14-07 Today was the first of three shoot days, with a 13 page script, we're shooting roughly 20 shots per day. The crew is smaller, so executing precise shots and preparing lighting setups takes a little longer than if we were to have a traditional sized crew. We started early today, with everyone getting a slow start. Fortunately, most of the set was pre lit, so getting the first shot off was just a matter of bringing in a few smaller sources, and getting into blocking. Most of the film takes place at night, with candles being the motivation, along with the subtle moonlight, so I decided to underexpose most of the set about 2 stops. I am a fan of soft lighting, so I generally utilized 100W china balls and kino flos for key and fill on talent, while sticking with a larger 500W china for ambient room fill. Several candle sconces decorated the walls, which I simulated candle spill for, by rigging 1K fresnels off the top of the set, gelled up with CTO. All the lighting used is gelled either warm or cool, depending on the scene and shot, I have come to really like 1/2 straw for my warm tones, and 1/2 CTB + 1/4 plus green for my moonlight sources. My gaffer and I decided early on that dedicating power to "setups" of lights would be more effective, as we switched back and forth between day and night interiors throughout the day, so being able to just flip breakers between the two was a real time saver. By having these pre rigged, it also allowed much better continuity between scenes, because we didnt have to re-light every time we wanted to switch to day or night. After lunch, our key grip got sick, and had to leave the set, so this left us short handed, as we had no replacement. The rest of the day went well, completing a very emotional scene which involved moving set walls, props, and redecorating, etc. By the end of the day, everyone was ready for a good nights rest, with an equally busy day ahead. A few on set stills, shot to match the negative, enjoy! More tomorrow as the adventure unfolds.

Yeah, really. I'm never too impressed with Filmtools when it comes to prices, but they carry great products. Anyone have any leads on a cheaper outlet to get a speed crank?

Paul, just wanted to chime in, like everyone else, to let you know everything is looking incredible so far. Let's hope the WGA get some lead way on their strike, so you and your crew can continue shooting. I'm really interested in like David said, how shooting 4:4:4 is effecting the process, prior and/or post of color correction, as opposed to shooting 4:2:2 for a broadcast master.

Agreed Alex, I would love to hear back from Matt about how this device is performing so far for him. Reliability and accuracy are the two biggest factors to me.

Yeah, looks great. Like Chris mentioned, purple plays great with the yellow...Probably works best because of how close they are to being complimentary colors. Again, great work!

Great find, Matt! I will definitely be looking forward to picking one of these up as soon as I can. -Precision Laser Measuring Technology. -Laser beam does both pointing and measuring. Accurate to within 1/16". -165-foot range. -Pocket-Sized, only 4″ Tall! World's Smallest Laser Rangefinder! heres a full review. http://www.toologics.com/Reviews/Bosch_Too...0071024420.html

Yeah, the speed crank is a great tool to have with you. It not only helps make long pulls easier, but it allows you some play off the follow focus, like a whip does. So instead of transferring the motion straight through the focus wheel, into the lens, you can use less pressure to spin the crank, and not worry so much about affecting the image on those long pulls. Also, it's pretty much the only way to pull a 1 1/2 -2 barrel rotation pull, and still be able to use it! :P

Yeah, like you said Chris, their isn't a ton to get out of it, but for someone just learning, their are several little tricks he throws out there. Great place to start.

Posted in another thread by Matt Jeppsen. I found it interesting and informative. Definitely worth watching. http://www.freshdv.com/2007/10/follow-focu...al-roundup.html

Yeah, depending on where you live it can be really common, or really difficult to find work. Even here in Orlando, I have trouble finding AC work, as I am not a professional yet, still in school. Your experience level makes a huge difference, obviously.

Another quick test to see the results of the stock would be to just buy a cheap bulk loader, and cut a foot or so and load it up in a 35mm photo canister, and shoot a roll on a still camera. Get it developed wherever, and check your prints when you get them back for any major damage/defects to the film.

Absolutely gorgeous! What processes did you use to achieve such a soft, gritty feel? Very film like in terms of how HD generally looks (overly sharp.)

Definitely looks like a useful device, it looks like it really gives you everything you could need for handheld/steadicam shooting and even jibs, etc. I'm not against having one, just as long as, like all the other tools in ones belt, it's there for a specific and important reason.

Sure thing, I'll post some results here after i'ved used it for a while.

Thanks alot John. Yeah I definitely know what you mean, in not using it when the DOF is very small, but I think it would be great for a good amount of coverage. Always having a tape measure on backup though.

Been thinking about getting a laser focus finder for use in measuring focus. I recently was on a feature, where the 1st AC was using a laser finder, as compared to tape. Obviously it's always a good idea to carry a tape, but is this something that is practical for measuring focus? Is it reliable enough to count on, when dealing with the majority of shots that aren't very close, or extremely far away? I found this earlier, could I really rely on this? http://www.sonin.com/lasertarget.html