XiaoSu Han

Hi, we're looking to sell our Lomo Lens set fitted in PL mount. We have a set consisting of: 18mm - T3.2 22mm - T2.4 28mm - T2.4 40mm - T2.7 75mm - T2.2 TAIR 300mm - f4.5 Foton zoom lens 37-140mm Pictures here: http://www.stilfabrik.at/lomo/index.html As said, all in PL mount, but only the 40mm has 0.8 pitch gears. Also, the work done in remounting is not the best! Maybe you could send them to Sergey Kravchenco or so and have it reworked. Glass is very good though. Only the zoom is a bit hazy. Picture quality is incredible and offers a very nice different, more soft and filmlike picture than modern lenses for digital cameras. We are based in Vienna, Austria, Europe. Any reasonable offers welcome.

Anyone seen the this shot by Rodrigo Prieto? It looked anamorphic and they used a few methods inspired by Godard (dolly left right :)), and a cool diopter shot. Anyone here seen it? What do you think?

We wrapped and it's in post now, here's a small cinematography reel quickly put together and one-lighted in Color http://www.stilfabrik.at/footage/summertimereel.mov

looks great! what kind of budget was that? around 1.5million euros?

Definitely the most unreasonable, sexist and over-the-top movie of the summer. I laughed a lot though because of that, therefore I enjoyed it!

Hey Jayson, thank you so much for your detailed answer. May I also ask how AFI helped you develop as a DP, technically, artistically and socially (network wise)? Thanks a lot, appreciate the information

Hey John, yeah only daylight in the day scenes, we had a bunch of reflectors though (lastolite knockoffs) that we carry around. Thanks for the praise, the last setup only involved changing the bulb to a 200w, that's it. I'll have some moving images ready soon, a small reel. cheers, Xax

I am not sure if you've considered it at all, but for $35K you could live a year off that plus spend a little bit on that to help produce a film which you shoot. And then apply for more shoots. And more. And more. That I think is much better than a 1-year programme. And it fulfills everything you want in this sentence: "I know the money is a lot, but I don't see any other options for a concentrated, hands-on Cinematography without paying close to $60,000+. " There's your option. On the other hand, if you think you might need a school, I don't think NYFA is the right choice. Maybe someone here could elaborate further. more info: http://www.reduser.net/forum/showthread.php?t=32499

you should definitely try cml-sales, the cinematography.net mailing list. good luck

Hey jayson may I ask how many years of experience you already have being a dp? Also, may I ask your age? It would be just out of curiosity and seeing if I am already too late :)

great great journal! hope to read your next soon ;)

Thanks a lot for the comments, actually we didn't really have that many permits, for the exteriors yes, but for the interiors we just got lucky locationwise I guess. Also, we didn't have a production designer so we had to dress the sets ourselves.. and we had to change almost every interior completely... As for lighting we either bounced or shone two of those 500w things through muslin.. never did both because then nothing would be left :), also we had some grid cloth and used that if we didn't want the uber-yellow look... We also had a china ball but used it quite rarely... we lit a lot with practical lights where we would just put 500w in them when they were off screen and 150 when they were on... I'll try to put a trailer together soon and am going to post that then! cheers, Xax

http://www.homedepot.com/webapp/wcs/stores...03+90401+501093 silver clamp lights with 500w photobulbs..

Hi! thanks! we used build 20, the latest color science included because we had a substantial part of tungsten lighting and wanted to get the best noise ratio most of the time we left the camera at 5000K no color filters at all for the soft warm interiors we often used unbleached muslin to bounce or shoot through, looking back though I think we should've lit with normal tungsten and just warmed it up in the color grade, would've been better if you needed to change it to a bit cooler look maybe we expose a bit to the right yes, and we set the light meter to iso 250 to ensure there's enough light for the hungry RED ;)

Hi, we are almost finished with our feature film in NYC, called "Summertime", directed by Max Weissberg. Andreas Thalhammer and me are the DOPs on this film. We are shooting on RED in 4K with Cooke S2 lenses in BNCR mount. We have so little budget that we didn't use one single film light, everything is lit from either practicals or home depot style stuff. We rented a few C-Stands, a bit grip and a doorway dolly for a few scenes, and even managed to get a Steadicam shot. Here are a few stills, if you have lighting setup questions, shoot! Otherwise I'd be happy if there's some criticism and suggestions to improve things. Those are just quickly 1-light corrected in Lightroom after I exported TIFF's from the RAWs Some are cropped to 1:1.85 and some are 1:2.35, we are finishing in 1:1.85 but for personal reasons I cropped some to 2.35.

Hi, for a party scene mid next week in Brooklyn, NY we are looking for a event rental company to provide us with a few PAR64 or similar, ideally with dimmer board, as we are on a budget we are looking into event lighting instead of getting them from a film lighting company. Would anyone here know a company that has reasonable rates in that area? Thanks, Xax

PS: you can email me at xax at stilfabrik dot dot at

Hi, for the low-budget feature film "SUMMERTIME", shot in NYC, Manhattan and Brooklyn, we are looking for a Steadicam Operator for our RED ONE for a party scene. It takes place in the evening on the 16th of July 2009. Please only apply if you are available. The scene is an aproximately 1:30 minute long one-shot of one of our leads walking through a party in Brooklyn and involves some very interesting movements. As we're on a low budget, we can only afford to pay a small compensation of 150 USD. I am very sorry to have to ask this, but it would be perfect for someone who is starting out and needs the experience or some 4K material for his reel, plus it's just one shot basically. It would be great if you would have your own remote follow focus as well. Thanks for any applications in advance, cheers, Xax

crazy stories! keep them coming!

Hi, for a small character driven low budget feature film to be shot on the RED in the NYC area we are looking for a 1 to 3 ton G&E truck with some small tungsten and HMI lights. If you would have a dolly too that would be great. We are starting on the 11th of June, are shooting 5 day weeks, never more than 10 hours a day. The first block is going to be 10 shooting days, then we have another 24 days to cover in July. Please contact me with your daily and weekly rates and what your truck would have. Cheers, Xax

Hi we are in the shortlist for a feature film in the UK, the budget is about a million GBP and it's an action film. Now the producers are asking for our rate, and the rate for our RED package. Are there any guidelines for low budget UK productions? Any recommendations? cheers, Xax

hi nathan you could try HANG WAN, cinerent or salon films good luck

well you could either pay 50K a year at AFI or invest in a RED + lens package and get out there and practice on independent films. both ways work I guess?