XiaoSu Han

we might have one for sale, sent you an email!

Will sell for 1200 EURO shipped.

Hey Nick, yes the 235 is definitely MOS. Also, if your shoot is in HK I am not sure if you can do 3perf or 2perf at all since at the time we shot our short film there was no 3-perf and 4-perf at all available in HK. Good luck and let us know what you find out!!!

http://www.cinematography.com/index.php?showtopic=43394 Tetsuo Nagata

Hey James, we're in the process of finishing it and will submit to festivals, so somewhen in Q1 2010 I hope :) here's another version of the fishtank shot! cheers, Xax

directed by Kat and Liz Lo, shot on Fuji (250D and 500D if I remember correctly) using Zeiss Superspeeds on location in Hong Kong The grabs are from a HD telecine at Shaw Bros (yes the legendary shaw bros!!!) and we're grading it at the moment.

http://www.nagata-tetsuo.com/flash-640.html

http://en.wikipedia.org/wiki/No._5_The_Film hopefully as said not correct :)

I've read on wikipedia that Nicole Kidman got USD 12 million for the former Chanel ad which costed 42 million. I hope wikipedia is not right on this one :)

Incredible lighting, especially the moving light is great. Also the dawn photography of the train passing, could that be day for night? Love the shot where she runs in Istanbul and the birds start to fly... Pure beauty!

love the stairwell shot as well! takes quite some guts to shoot a whole feature on the 5d?

Hey Nor, on the top of the shelf are two or three 500w photobulbs in home depot fixtures against white with blackwrap on both sides to control the spill... It's not 216 but the lower part has ND .9 on it :), the upper is just overexposed... Yeah, we played Ninja quite a few times with some bolton/duvetyn and also tried to chose the angles wisely of course... but it was a huge PITA with an apartment with such huge windows..., cheers... I don't actually like chinaballs so much, we had one go up in flames by the way, the tape somehow lost it's stickyness because of the heat, the bulb dangled, crashed, and faster than we could look we had a small fire in an Manhattan downtown apartment on the 28th floor in someone's Penthouse. Was gone quickly but quite a shock. Like the Chimera Lantern much better... awesome with a Joker 800...

Thanks a lot!!! Here's a directors trailer: - unfortunately it's encoding is quite bad and we did not do any color correction, but you can see more of the story here :) also, a couple of making of pictures on how we tried to achieve a look without any film lighting:

truly cinematic :unsure:

thanks guys, we own a Cooke S2/S3 set in BNCR, and it served us quite well.. We didn't use any generator, in our main location, a house, we tied into the mains and drew around 30-32 amps from there... was the cheapest way in the end... cheers, Xax

Hey Ram, the second DP is Andreas Thalhammer, we're longtime collaborators... thanks, let's meet up! we're coming to Tel Aviv in a week! :) cheers, Xax

Hey Jerry and Gus, sorry I didn't answer earlier :) The balance between the interior and the exterior was achieved by a combination of a 6K HMI bounced off silver to add ambient and direction on the actress, a 2.5K HMI off screen through a window with full diffusion on it and an overcast day. Yes, this is a departure from the last feature where we just did natural and practical lights, we had a proper lighting package from 6K HMI downwards.. different script, different budget, different approach. Also our second feature in 1.85, now back to pickups for something on 2.35, it's so different! And yeah we work as a two man team, we're both DPing though, which results into one of us operating and the other one being in the classical DP position by the monitor with the director. We swap after each scene, also keeps the framing fresh from scene to scene and it really enhances our work.

couple more stills:

Hey David! thanks so much for your comment, it's such an honor to hear that from you! We set our light meters to 250 ISO all the time to be on the safe side and verified the exposure using mostly false colors. We tried to light to a 2.8 1/2 - 2/3rds on ISO 250 all the time so if we run the lens at 2.8 the key would be that much over. We left the camera on it's default settings though and shot everything on 5000K as well. Colorwise we lit to the image we saw at 5000K, as we thought this would be the most efficient workflow to follow through by getting what we wanted into camera as much as possible. We had a directors monitor (cheap dvi lcd) and for some stuff we had an Astro with waveform on set, which we used a couple of times, but we're quite used to the false colors now after 3 features, so that was more of a reference than the waveform. What also helped is that we graded a project completely ourselves in Apple Color before that so we know what we can do with the RED material and what we can't. Obviously those are the nice shots but there are of course a few underexposed things as well where you get rushed by schedule and other stuff and just can't add a light after a bit of staging changed. I think that we've found our sweet spot for a skin-keylight to be 1/2 - 2/3rds a stop over, which is pink anyways on the RED false colors since build 20. So as soon as we had spots of pink and green on the key side of the faces we were happy :). No red no purple as well :) We're quite happy to see that we get more and more shots where we nail the exposure, we used to have lots of underexposed shots when relying on a monitor instead of false colors. cheers, Xax

shot on RED ONE and Cooke S2 lenses feel free to ask any questions :)

Thanks for all the input we've decided to go with the RED ONE, which we'll use to shoot all the other stuff with too. I've had a very good chat with the CEO of SI, and we would've gone with the SI-2K. I think there's nothing out there that beats their quality for that size. I was a bit afraid of the 5D mkII as we're outside quite a bit and I read that spot-on exposure is critical for a good result. We're steering away from the subjective camera look with hands and feet, but are rather moving to a "POV"-heavy breakdown of the scenes. Also we were seeing problems in letting our thin actresses wear helmets with a camera on them ;) cheers, Xax

thanks! we hid one flouro bar from home depot above the actress to give her a bit more light the green is from the flouros mainly yes but we emphasized it a bit in the grade

Hey Alex did you contact Arrimedia at all? We asked them for a quote once and they were VERY generous with their offer, so it might fit into your budget after all. Have a go, cheers Xax

Hey, for a feature film which requires a lot of POV work in the style of "Smack my B. up" and "Diving Bell and the Butterfly" we would be looking for a camera with a similar form factor to the SI-2K Mini which would allow us to mount the camera to a helmet. The production does not want film at all, so it would have to be a HD camera. Other than that, we are planning to blow up to a 35mm print, so we're a little afraid of the Canon 5D MkII, which would be our only alternative to the SI-2K that we can think of for now. So is there any other system with a detachable head/mount out there? Thankful for every piece of information, cheers, Xax