Rolfe Klement

I have one and it is 100% perfect but it has been replaced by a new model. Mine does the job for over 2 years no problem. Arri media in UK seemed to be doing a deal on the new meter thanks Rolfe

A rough cut and a very rough grade (in AVID) of something we just did. Whole thing cost £450 - so excuse the low budget look :) Saltmusic rough cut (17MB)) When we get the full grade and ADR, foley I will repost the new one thanks R

excellent! - thanks for the answers Rolfe

thanks for the info I suppose my question is more about should I force myself to use dimmers and ND on light sources more than using ND on the lens. And if so why? The reason is sometimes I read about guys like Bill Pope who ask their gaffers for the entire set to work at T2.8 through to T8 on dimmers so they keep the same T stop but just do all major adjustments in the lighting - but since it was Matrix maybe they had the budget and studios - why would they do that when it would just be cheaper to light for 300fps and then ND down the lens - or is it an electricity charge issue? Back to the groundglass scenario - I have seen there are companies who will brighten your ground glass by a stop but it costs quite a bit... My concern is more with getting into the habit of using NDs instead of getting used to dimers or having entire sets dimmable. Having said that I have never had issues with the NDs affecting image quality. It is just I tend to be using the 85N9 more and more and wondering if anyone (producers, directors etc) would ever demand less filtration on the lens thanks Rolfe

looking for some advice - For setups involving multiple speeds or shutter angles I am getting into the habit of using ND in front of the lens instead of dimmers and ND's on lights | windows So if I know I have to use high speed in a shot then what I do is light it for the highest fps & tightest shutter at the stop required (say T2 at 50fps @ 45' shutter) then put on NDs on the lens in various strengths for normal speeds and normal shutter - so I can hold consistent T stop through the setup I am getting into this habit because I find it allows me to work quicker, and reduces the issues around dimmers, C Temp etc. It tends to mean I shoot more on higher speed stocks as well. One big disadvantage is the viewfinder is often darker than it needs to be any thoughts and feedback thanks Rolfe

H264 will also be the new standard for HD DVD + Blu ray compression format according to this Sorenson have an encoder available already - but I am waiting till QT7 comes out to make a comparison thanks Rolfe

FANTASTIC - does anyone have a manual for the Arri 3 variable speed crystal pistol grip motor - or for the Arri 3 in general. Arri didn't have anything :( thanks Rolfe

Very very nice shots Will and great characters. My only tiny thing would be to bring a tiny eyelight on Sam - but if it was intentional to leave it out then... thanks Rolfe

It is nothing fancy just has about 10 screw drivers and Allen keys with some arri grease and oil. Comes in a little pouch with Arri branding all over it. thanks Rolfe

Apologies if this has upset people. Just the quality of people here is so much better than "shooting people." :) I agree - contacts made in DV or HD freebies are often meaningless. It is better in the film world of 35mm This is entirely free - no-one is getting paid. I am not getting paid for my camera, nor the actors for their time, nor the director but in order to get out of the catch 22 situation of can't get a feature job till you shoot something, can't pay for a shoot and crew till you have a job - we (crew) have to do specs | trailers occasionally - access to actors like these is rare in the UK since most of them are in LA The actors have just come back from feature work in LA so therefore the short notice. And I trust their idea and we need 4am cause sunrise is listed as 5.49am and we need to shoot from the half hour before so 5.19 so with set up and breakfast - moves us to 4am or maybe 4.20 :rolleyes: at least we don't live any further north with an even earlier sunrise thanks to the people who have applied already - let's make it happen! Rolfe

Going to be shooting 2 400ft rolls for a trailer for a Director friend from Maverick on 35mm - using my old trusty Arri 2C. ADR shoot - so no sound :) Looking for someone experienced who can help do some guerilla shooting. Involve a bit of carrying, grip, focus setting, lens clean and changes - whatever is needed really. The actors have just come back from LA - so the shoot has to be this Saturday (23rd April) with a 4am start! In central London Hyde Park etc - with car shots late at night so it is going to be a long long day any takers? - will have a professional TK at the end as well B) Mail me off list at Rolfe.klement@creativesunshine.com thanks Rolfe

Handheld, crash zooms again and again :D you used to be able to buy the complete series 1 and 2 DVD from bmwfilms.com - there are extras on the dvd (not that much about cinematography) Powder key is very similar to Man on Fire - even though Cameron didn't shoot powder keg. Check out "21 grams" etc by the same director - of powder keg thanks Rolfe

I was once told you have to learn what is 18% grey in a scene - so when you have time use the incident meter and get a reading then use a spot meter and check what matches (green grass - the dark blue section of skies and clouds etc etc) Or use the spot meter on a grey card and then figure of what matches by spot metering loads the whole scene It takes time and 8 years later I am only a little better at it The other way is to get an understanding of the zone system and the exposure range (latitude) of your film (reversal and neg have different lats) then check the brightest and darkest bits - work an average or figure of what you want to see based on corrections using the zone system One of the more complicated bits of photography... thanks Rolfe

Another option could be a steadicam balanced and have the springs set so that it doesn't look entirely smooth Walking in the DJ position with a steadicam (walking forward camera facing back) is the easiest way I have found of shooting actors moving forward with a camera in front for long shoot days The A minima can be used with a monitor (you facing forwards, camera facing back and monitor in front of you. The only issue is the short rolls in a minima (200ft) thanks Rolfe

so are you saying expose the 5218 normally on a T1.3 lens - wide open - with no push? That would be perfect for me - but my metering showed it might need a little more stop but I have no experience shooting availbale night exposures in bright places - so my metering method might be up the wall :) any advice thanks Rolfe

I am doing a trailer for a Director friend of mine and we want to push the low light capabilities. Basically shoot at night in London in Picadilly circus etc - but not shoot HD These are my plans - shoot 5218 - push it 2 stops (does anyone in London push half stops - Soho Images can only do full stops.) but overexpose the neg a little so rate it 1600 but push it 2 stops. I would prefer to push 1.5 stops. I know and love the push process but have been lucky in my exposures, now I want to figure out the acceptable ranges Metering - use a combo of incident metering combined with spot - John P : do you know what are safe up and downs on 5218 pushed 2 stops, 2 over and 3 under or can I go more? I would also spot a grey card. I also saw from my tests shot in LA a while ago muted yellow reds and emerald blue look great on pushed 5218. Greens don't come up well. Any other ideas on colour for pushed film. Blue flos look great - in fact neon lights look good generally thanks Rolfe

general double safety thing - it also applies to loading etc. But be sure to use correct tape Studiodepot or Arrimedia stock it thanks Rolfe

depending on budget -Briese and Dedolights are quick and create good light Kinos and Ringlight are useful too Speed of setup and power options are key thanks Rolfe

where are you based? I would get some short ends from Dr Rawstock etc and just shoot some tests. It looks like you have a handheld motor in there - you can take off the crystal base and use handheld with the pistol motor. But if you must have crytsal for handheld it is possible to hold the camera from the left gripping the weird thumb handle unit and palm thing - I use the right hand to pull my own focus. - you can rest by holding the base Get an Arri maintenace kit (I have a blue one) it has the grease, lube and most of the allen keys, screwdrivers etc. Get some compressed air to clean but don't use too much force. Check the gates, check the mags for chips, open the cover inside the camera for chips etc. Check the motion. Shoot some tests into bright hard sources and check for issues. Changing the groundglass is very easy but someone needs to demo it to you. Check the shutter for any deformations - see post in this forum about it The lines in the eyepiece are caused by the baffles. Just get used to them. I have heard of guys taking them all out -but... Lenses (anything by Cooke or Arri (Zeiss) and you are fine but it is expensive. Call Visual Products or go and see any of the big compaines in LA (Alan Gordon, Otto Nemenz, Birns and Sawyer - they will have bits lying around you can buy) Sometimes having a standard T2.1 Arri prime and a 3x3 clip on matt box (to the lens) works fine and it much lighter than getting baseplates, risers and matt boxes etc Speak to one of the companies abut changing the eyepiece - I have a Video Assit which plugs into the eye piece -so changing it must be easy but gettin parts are going to be your concern. You seem to missing power and cables - cinepower kit - check the power ratings for the base motor in case it is different from the other motors thanks Rolfe

was the camera in a weird position for the four rolls (dutch tilted etc) Which camera did this happen on Did something change after 4 rolls - new loader, new mags, new stock etc In order to avoid I would use new film not recans Use a good changing tent - even for Aaton minima rolls Tape the mag edges and one from the op side to the AC side - take the tape off and on in the bag Get a good Loader - check old camera mags for good seals and tight locking mechs at check out Tape the cans usual kind of Clapper | Loader stuff thanks Rolfe

Entirely valid point. Does anyone have any experience using filters on pushed film, (I should run some tests. I know :) thanks Rolfe

To bring this post back to life - David and Co : I am doing a music video where they want a warm look(81EF) on high contrast scene (without the budget to make the look happen in Art Dept - So I am thinking of pushing 1 > 1.5 stops) but with Pola skies (How to keep the blue in? I was thinking grads instead of Pola filters) and at T2 (so I am thinking 12 instead of 5218) Oh and lots of handheld man oh man :blink: any advice would be well appreciated thanks Rolfe

Exactly as Phil says - you take your all original material (Film stock 16mm) and they only grade the sections required from the EDL (Edit decision list) - because you do not want to waste time and money making scenes beautiful that are not in the final edit. So the usual process is develop the neg , run a one light to some format with timecode, edit (get the EDL) in a standard format (CMX 340, 3400 and 3600) - ask your facility if they have any preference for EDL format. Take the film in and the EDL - do the grade on what you need - see if at the same time you ask for some 12 or 16bit still frame captures at full res - and a digital output (QT uncompresed etc) since you will need it for promotional reasons (and is often cheaper or free if you ask for it in the TK session lay outs) thanks Rolfe

It is a huge field - and I am not sure what you want from SFX . Shake has most of the market for 2k plus - but Combustion has short form popularity becuase it (masking etc) intergrates into Inferno better. The high end stuff, Inferno etc is over the $1M mark and about £400/h to use so... but I think this product is aimed somewhere between Shake, Framecycler, Lustre and more intergrated "workflow and storage" managment - but at $40k (plus additional yearly admin charges) it is not cheap Read loads of info at digitalproducer.com , discreet.com, apple/shake, creativecow etc - you will be able to find what field in SFX can help you | interest you thanks Rolfe

Don't get caught up in technology Another option is to shoot a trailer - It is almost as much work as a feature :) - but if pre-vis is good to excellent then you can get about a 5 to 1 ratio - then you may as well shoot 35mm or S16 One guy I know "might" get signed to CAA based on his trailer which cost £2k. I am occasionally able to shoot at £70/min on personal 35mm projects but I am cutting every corner and pulling huge favours to make that happen - and I own my own camera equipment. Depending on which segment of this industry you are aiming at - money can be well spent doing subtle things - shooting DV but spending £1000 on lights, set design and make up is better than using a DALSA camera to shoot bad lighting - if you are aiming at directing understanding script, performance and capturing performance, story is what is key - so spend money on talent and casting directors or reading David Mamet :) Making sure you burn your reel at super high res on sorenson pro 3 (or h264 when QT7 comes out) on dual layer DVD's - make everything look better - even 35mm can look terrible in real player - if compressed badly - our whole business is about presentation I just watched Nick Nolte "extras" interview about his mother's death on the Northfolk DVD - shot on DV? - him on a chair and it was fantastically engaging (BTW- David Mullen had superb superb cinematography in Northfolk - congratualtions!) The best advice I ever got about cinematography was shoot anything, anywhere on any format, day, night, 3am 9pm, with any camera, on stills if need be, push, pull, cross process, hang out at Fotokem or Soho images at 2am on a Tues - do anything to get experience, practice framing with directors viewfinders, or card cutouts, walk around with fixed focus lens on an SLR - to learn about the lenses, look at fashion magazines - check out how they light , go to lighting companies and ask to play with their lights - practice flagging, diffusion, smear vaseline in horizontal streaks across your lens, then vertical, then circular, follow lowboy car trailer shots around LA (until they tell you not to!) Look, listen and learn whoa - too much coffee B) thanks Rolfe