Jump to content

jason berman

Basic Member
  • Content Count

  • Joined

  • Last visited

Community Reputation

0 Neutral

About jason berman

  • Rank

Profile Information

  • Occupation
    Digital Image Technician
  1. Hi Phil and anyone else who is reading. we now do Phantom Miro m320s 12gb kits starting at £950 per day. Its possible you may need to add some items but this really depends on what you need. It has a phantom flex sensor, alas limited to 1920 x 1200 max but 24-1500fps at 1080p its an amazing new market for an "affordable" high speed camera. Ok its not the Full Fat Phantom Flex which has evolved over time to be better and better due to upgrades, but i imagine the Miros will do the same. You can also dry hire them, if your confident you wont need a technician, or of course we could supply you with one if u want to pay the going rate of £450 for a high speed technician. all you need is the correct insurance documents send us a PO and its yours for the duration of the rental. here is a link to our miro m320s page. http://www.lovehighspeed.com/phantom-miro-m320s/ Slomo guys, really an amazing phenomenon they have done very well, i take my hat off to them for the hype they have created. This is down to the fact that one of them, works or worked for another high speed rental company as a technician and he loves what he does and this is what he has done in his spare time, while the cameras where not working. Admittedly they did have quite a bit of spare time to create the amount of content that have done so i am un sure how much work their Flex's actually do. Either way Phil, it should be time to stop your need to pay a tech and to pay high rates for very good high speed equipment as here you have a very affordable package. Jason Berman lovehighspeed.com jason@lovehighspeed.com +44 207 043 0973 London Area UK
  2. HI Sean if u want to be reliant that u will not have any potential for flicker, do not use HMI;s, even if they say Flicker Free, they only mean flicker free at normal speeds up to about one hundred fps not above. These ballasts are not designed for slow motion only for overcranking a normal camera like a 435 or hssr3 etc. There are high speed ballasts that arri make, but are quite rare, they are designed for real high speed use, but i would still test them. There is a lot of misinformation out there on this subject. There are a lot of people including Lighting Dept who think that Flicker free is Flicker free at any fps, and also who have never had a problem with HMI's, I do admit that i have done a lot of shots with HMI's and they have been acceptable. BUt i would never bet your bottom dollar that a normal HMI light will not flicker at high speed, its kind of hit and miss. If used in sunlight there is a strong possibility (but not guranteed) that Flicker would not be visible if u are just supplementing Sunlight with HMI , but if the sun drops and u end up lighting the scene with hmi as the main light, cross your fingers. Do not think about using an HMI interior as you only source of light. IF u want to use HMI for daylight balanced reasons or any reason u think its worth the risk, roll with all the tungsten lights just in case u get flickering results. Lights that are 100% stable at high speed. 5k tungsten and larger Vistabeams Longstrikes, Luminys lights. There are some LED lights that work, but there are some that dont, so test. Use mirrors and bounce to get the light in spaces that another light would normally be used. There are other lights that can work, but never rely on them. This is my experience, of using high speed cameras everyday for the last 5 years. If anyone has any other input please list it here. Everything about what i advise is to keep it 100% safe, you can of course take more risks, u may get some great results, but your more than likely get some flicker on the way. Jason Berman Love High Speed London +44 7073 698 475
  3. Phantom Flex pacakges in the UK from my company love high speed, are £3650 per day This includes 1 x 32gb phantom flex camera body 1 x c35 viewfinder 1 x arri baseplate riser and bars 1 x arri mb 19 matte box 1 x arri ff4 follow focus 1 x 17 inch hd monitor 1 x 8 inch on board hd monitor 2 x phantom cinemags 1 x phantom cinestation Macbookpro laptop, raid capture drives 1 x phantom computer control Phantom Technician Lens, Head and legs and grips are from about £400 up wards depending on what u want ontop of this you will need a esata hard drive so u cam walk away with raw .cine rushes. you will also need to have you phantom .cine files transcoded by your post house, you or us, we charge £500 per hour of footage to any format. Please note these are 100% prices and depending on how many days, your kind of project our availabilty we may be able to offer some sort of deal. US prices tend to be equivelent, but what u find is most people just quote you for the cost of the camera which very limited use without cinemags monitors etc The above is a shooting package Jason Berman Love High Speed lovehighspeed.com +44 7973 698 475
  4. Phil i dont feel hard done by Things are going great There are not not enough days in the week to fit all the clients in. A focus puller is £383 for a 10 hour day. I actually charge at the moment £450 for a phantom tech for 10 hours. The phantom tech is responsible for initial consultation, from job being booked, with director producer, post and last but not least camera and lighting departments. It is a highly specialised job, that not everyone is used to dealing with, and so diplomacy pre shooting and on set is required. And this talks nothing about what u actually do when the camera is shooting uploading to cinemag and downloading of the data. There are lots of options of how to shoot with the phantom so no is never an answer if u know all the options. For the extra £67 above focus puller the production company gets a good deal. In my dept the HOD = DP is on at least £1000 a day, so 500 is not HOD money. It sounds like you have been Burnt with someone else Phil. am i wrong? The 450 a day equates to less than 1/6 for what i charge for a full blown phantom kit without lenses or grips. The rental price is mostly dictated by market forces and the price at which the gear is bought for. It is only Red and now Alexa that have forced these prices down. on high end camera equipment. I cant see digital high speed going down in rental price any day soon, HS2 is more expensive to buy and less versatile than Phantom. Flex is more expensive than Phantom Gold, Photron which is also a player in the digital high speed is also similar sort of money, but less versatile than both wiesscam and phantom. An F35 used to be the same sort of money to buy as a Phantom, except the SRW1 is an old product so it is well and truly into profit when the F35 was released. List price on an F35 is approx £2000 per day, much more common than a phantom gold, no specialist tech required but often hired anyway. And as Phantom is not used for weeks on end, the knid of discount u would get on a camera like F35 is not available as so many phantom jobs are 1 or 2 days. I am alittle confused as to why u started all of this Phil. Do u need a phantom for a specific job, but budget cant stretch to it? If this is the case i could try to make it work if the dates were right. Please enlighten me why u begrudge a specialist technician to make going rate for the job in hand. And its not £2000 per day, i wish it was. Alot people who work in a pub thinks a runner gets paid to much at £100 + a day, but we all know they are long in need of a pay raise. If u think a runner is in his first year in the bussiness and gets paid £100 to be the bottom of the pile then £450 per day for a phantom tech is a bargain, maybe we all need pay raises, including u Phil. Dont forget this is all gross and tax needs to paid as well. I m sure i dont need to tell u this. Im not gonna give away how i run a phantom to anyone other than other phantom techs not in my territory. That would just be stupid. We all have learnt the hard way. Most of it is experience with the cameras, that i could show someone in a day or less, but why would i do that, these are my skills that i make MY living out off, im not just gonna give it to someone, so they can compete with me or try to do me out of a job. If u want to do it yourself Buy a camera and learn, but most important first though is make sure u have a market for it, as its pretty pricey and the last thing u want to do is buy it and then have to cut your arm off and do crazy deals on it to get it out the door. Phantom is in high demand and most people dont complain about the price, especially and this is the key when that price comes with a highly experienced phantom technician. Phil if u want to use the phantom give me a shout. There is no malice here. I love what i do and with phantom and half an idea its very difficult to get it wrong so long as u use it correctly. I think the coment about the £20 cab ride says it all, it is tough out there we all have our ups and downs in the film biz, I hope it turns the other way for you Phil. Jason Berman
  5. Phil if u hire a phantom from me ill gladly charge u less than £2000 a day for me to tech the camera. average camera tech prices in UK are 450-550 uk pounds per 10 hour day. Probably need to go up a little bit, but thats what it costs in the uk for a phantom tech. But u may think why are u paying me, because ill make it look easy, maybe this is the problem u have, when camera techs or anyone who knows what they are doing in the working environment and are at the top of their game, they will make it look easy, and its the laymen who thinks, what am i paying him for. Let me tell u if u could get a phantom without a trained tech, please try and make it work, without the "£2000 a day for the tech", when u have the results u want for less money, then come back and rave about why u have to pay x a day for a camera tech. But u will stuggle to get hold of a camera without the right skills attached to it anywhere in the world. Phantom Gold kits, cost upwards of £200,000 for a shooting kit, with cinemags, cables computers batteries, monitors, viewfinders etc, and i am not including lenses here. Phil if u owned one, and u paid this sort of money, how much would u rent it out for a day.??? To work on top end productions, it wouldnt be a steal would it? I think u maybe insulted if someone posted on a forum, undermining the investment in equipment and skill in technical knowledge or on set prowess. and complained how much they cost a day. when u have shelled out 200k uk pounds How much do u think a photosonics 35mm shooting 1-2 hours of film in a day is gonna cost u, for gear, technician film stock and developing, and u cant see it back to see if u got the shot. Maybe there is a redlake or an olympus i speed with your name on it, but let me tell you, you wont be playing with the big boys, on films like inception, robin hood, sherlock holmes, maxpayne, or even the average commercial where these cameras are mostly used, most people need th right gear for the job and most producers know they need to pay for it. There are a couple of people bumbling around under cutting with substandard kit, but they are not making names for themselves or the work that they do, for many reasons. Good luck Phil. Try not undervalue skilled labour, even if u cant afford it. Jason Berman Love High Speed London 44 7973 698 475
  6. Phantom HD Gold can also playout in realtime at full 1080p to an HDCAM SR deck or similar either 422 10bit from camera or 444 10bit from cinestation in realtime with manual gamma correction, if this is what u want. I have found that the majority of people do not want to go to the tape route at all anymore, especially when they are hiring an expensive Hispeed HS2 or PHD Gold camera with data recording, clients def dont want to hire an expensive HDCAM SR deck as well, most of the time the SR deck cost the same as the processing of the .cine raw. If u really want to u could also go to P2 decks / nano / ki pro, with ease even though in 250+ shoots with phantom, It has only every been requested of me to playout to deck under 10 times. The phantom raw .cine format is widely accepted worldwide, and is a great format, with lots of latitude. Black balance is much improved of late and even though still needs to be done regular, it is so fast most people dont even notice it happening anymore, especially if u have a good 1st AC/ Phantom tech communication. I would give up the slow playback to the digimag or HDcam deck on the Hs2 to phantoms black balance cinemags size any day. My feelings are that HS2 is really a studio camera, I cant see it working well next to a race track with F1 cars or Superbikes , with hard drives in the digimag, skipping a beat everytime a car goes past. I just shot on an americas cup style boat, handheld with the boat going thru 45 degrees to flat to the oppostie 45 degrees in 35 knot winds, HS2 would have sunk the boat, let alone the operator, Also just put it underwater next to a rib, using the RCU in run stop mode to the cinemag, tracking alongside some olympic dingeys, pretty bad weather and very little time to do it. we shot at 450 fps continuously for 4-5 mins, as this is all the time we had with the break in weather to get the shot. HS2 would never have worked here. What about steadicam, that would be a challenge,There are more scenarios. HS2 is really studio based, and as much as it has more double FPS, and ASA than the PHD. It wont be long before, Digital cinema Phantoms eclipse asa FPS etc of HS2 and this conversation will be over, until HS3 (if there is one) I hear there is a new HS2 mark 2 already, no spec seems to have been released, but this is the rumour, I would imagine its just minor improvements about like HD to HD Gold. I am obvoulsy biased, but before i jumped into this world i tested the HS2 alongside the Gold and SA2 and it was clear that the Gold had the all round advantage, even though i really wanted the HS2 to beat the Gold as if it had I would have been the first one in the UK to own and I thought this would be an short term advantage, but there has been one in the UK now for 2-3 months and i dont hear it doing too many jobs, for some reason. If anyone wants to come and see a Phantom Hd Gold Demo with interchangeable lens mount PV,PL,BNCR etc I am running these cameras out of my company which based at Arri Media in Uxbridge near Pinewood. Kind regards Jason Berman Love High Speed Ltd 44 7973 698 475
  7. "BEST CAMERA FOR PORN?" there is only one real option at the moment for this perfect in 2 ways. 1. can shoot at 1000fps 2. at 1000fps it runs for 4.3 secs and its game over Phantom HD
  8. Hi I was the Phantom tech on this video and I always knew that this camera is more than capable of shooting at 25fps or at any speed and creating outstanding results. The bad results you refer from tech advice, are probably the fact that the producer did not want to use this camera at all and i was covering my arse, as the "results" meant she had to pay for me to download 2 full cinemags the day after the 18 hour shoot, and she did not want to do that. I think that video looks outstanding and i would invite anyone to choose this camera as a hugely versatile camera that can shoot equally sync speed and high speeds. Yes viewing anamorphic on this camera is difficult, but u adapted very quickly. I loved the moving light in the background. I was on a shoot recently with 2 x phantom HD sand 2 x genesis side by side and i have to say that the Phantoms HDSDI "video assist" blew the Genesis "Video Assist" out of the water (my biased opinion, and other non biased). Unfortuantly there are a couple of things that leave the Phantom HDa little behind as far as working with it as a fully fledged sync sound camera, that u must understand. 1 Fan on the back unable to turn off at sync speeds currently which will back shooting sound a little tricky. 2. The fact, u do not have to download between shots enocurages users to shoot more and more and but the data needs to be downloaded, and u cant just pop a tape out or send the film to the lab, u have to download it., even though this process is getting faster month by month, this only encourages more people to shoot more and more. So there is always alot to download. We shoot on average 300-500gb of raw data in high speed shoot in a day. But these are really the only draw backs the 14bit raw uncompressed rushes that it produces are like shooting neg with lots of lattitude in it. On Royworld music shoot that had very little high speed element to shoot and 99% at 25fps we shoot 1.5 terrabytes of raw data in one day. Part of the reason it is so much is that fact that we used the whole chip and it about twice as much as the 1920 x 1080 that i would normally shoot. Sync speed shoots do generally shoot more data than high speed as the high speed stuff is usually very specific and the amount of performance is generally not required. Jason Berman High SPeed Tech Take 2 films london +447973 698 475
  • Create New...