adam ward

Yeah, I was just about to say Zodiac.

 

It's interesting to compare that film with Collateral because they shot a lot of similar content (night/ext) with the same camera, (although I believe Mann ended up using the F900 for some stuff on Collateral). But, they look entirely different. It all comes down to the color sampling I suppose. But, that's not to say Collateral doesn't look great, just a different feel to it.

 

Another good comparison, already partially mentioned is Che and his most recent, The Informant!, both look fantastic but definitely different--I think it has a lot to do with the vast difference in shooting in daylight vs. tungsten.

 

Thoughts?

 

*Edit: Despite what you think of the picture, a marvel in color and technical/digital production: Speed Racer, especially the last 10 minutes or so, a must see on Blu-Ray.

The Informant??? Are you kidding?

Weakness awakens avarice in others. Learn from your mistakes, after all, they are the only thing here we can truly call our own. Either you didn't live up to your part of the bargain of your new employer...or you did. Figure out which one and believe it good or bad. As you said, it might simply be a product of the economy and they took the chicken poop rout of blaiming you for their inability to pay you...or, they told you the truth. You can be your best critic, truly look at yourself and find what others saw in you and your work. If you cannot find improvement, look harder. There is an old saying in this business, either you have been fired or you haven't been fired yet! Stop feeling sorry for yourself, the mourning is over, get your ass out there and work! It could be anything, look up Craigs list in Kansas under crew or Mandy.com in Kansas, what ever the gig...you need reassurance; if it's a small gig so be it. Stop whining and get back on the horse...to quote David S. Goyer from Batman Begins, "Why do we fall, ....so we can learn to pick ourselves up!"

This was pretty clever and creative. I would not use the entire video on your reel, just the best parts. There are some problems I would not want people to see. In the beginning there are some flares and soft focus. Not good for a reel. One big problem that arises with Stedicam is balancing the rig is that there is a tendency for the rig to self adjust. In this case, the head room seemed to be a bit of a struggle at times. I would not use any poorly framed segments for your reel. It wasn't terrible in that respect but I did notice it. Some of the time the girl's back was to the camera, you might not want to use that. Just use the best framed, highest production value shots where there is a lot going on in the frame where the background is full and exciting and the girl looks good. Also there are some dark areas that I would stay away from.

thank you for your input Tom. actually the head room inside the house was dictated by all the Kenos strung from the ceiling. I know what you are talking about, it seems like i crowded them... this is something i dont understand about the Red camera. This is not what I framed in my monitor. There was easily 5 to 10 % more room on the day. Is it possible that the "safe zone" in the frameline generator from the camera is not correct? its not the first time i got bit in the ass from this camera.

cheers

ww.youtube.com/watch?v=B1KSwNSh1MQ#watch-main-area

this was extremely complicated and i want to see fresh eyes on my operating and if i should put the entire video on my reel

thank you for all your input

Hello,

 

I am using manual focus 35mm lenses for the first time (used to shoot prosumer autofocus cameras)

and I am finding setting up the camera, measuring distance, and focusing very frustrating.

 

Do you guys know of any tutorials or online resources for the total newbie?

 

I basically need to learn where to place my lenses in relation to the subject to get good focus, but any other beginner level information on this whole topic would also be greatly appreciated.

 

Thanks.

Yes, get a focus puller.(1st AC)

All good advice so far and I'll just add what I think was missed: dolly's speed/position should match the position of the elevator (with talent on the mark of course). At the risk of playing "much ado about nothing"...any encoders to "read" the elevator/dolly and CTRL a focus motor might be another option (like a motion CTRL "thing")

you might try a Sniper, the MArk II is fast enough to match pushins on the dolly..enough so that one has only to mach the display with the barrel. (unconventional I know)

adam ward

I'm about to do a feature on the Red as well as "B" camera/steadicam and 2nd Unit DP, so I'll be interested to hear how things go. The shooting conditions will be very different on my feature though. We're shooting in the Bahamas and doing a lot of water work. I'll be interested to see how the cameras handle the heat, humidity, sand, and water. We don't have the luxury of a backup body, so I really hope the cameras hold up well! If not, I guess I'll spend a lot of downtime drinking Mai Tai's on the beach while we wait for another camera to be shipped to us.

Hi Mr Grimmett,

I just finished an 8 week feature with the RED as the A Cam/Steadi op. Kids, low-mode..running..with animals and water.. The camera held up great..be mindful of the vents along the bottom of the camera for the water housing..this will play greatly in the time set up. The camera gets a little "squirrelly" when panning side to side..be mindful of the gimbel hand input..for me it was about 1/8th of normal input..tricky. The camera can be used with a simultaneous double battery system from AB which is useful when changing batts..cause the system takes 80 seconds to reboot if you are only using one. If you use the dual mount, it makes the mass more easily manageable on the post..bringing it closer to the mass of a film camera.

Just my two cents..

cheers,

adam ward

For quick referencing..i would go with the Hilti..for attaching to the camera and running contiuously..I go with the Sniper. For on camera infrared measuring tapes..accept no substitute.

adam ward

818.2664649

Ive been a 1st AC in LA for over 12 years; as we all have been in those circumstances that need a little extra help, I developed the Sniper while working on the TV show Angel. It utilizes infrared laser much like the Hilti and Leica and Cmotion...wel Hilti and Leica are Class 2 red laser, Cmotion utilizes infrared as well. The Sniper has been in the field for almost 5 years now and going strong. Unfortunately they are not for sale but if you are ever in LA, please don't hesitate to email me at wardsniper@gmail.com and I would be happy to show it to you. Here is a list of the shows that it is currently working on,

24, Ghostwhisperer, Prison Break, CSI Miami, True Blood (HBO), Viva Laughlin...oops no more, and various commercials through the Camera House. There are 5 privately owned so I can't account for their work...but I get alot of calls from those. there is an old website up that tells a bit about it's genesis. Hope this answers the question of is there any help with the Laser Range Finder.

best regards,

adam ward

www.wardsniper.com

wardsniper@gamil.com

Tim,

The newer mags will work on the older cameras. Based on personal experience, you can use the 435 400ft mags on the 35-III. The 435 400ft mag would fit on your 2-A,B & C if it wasn't for the neck strap ?eyelet? immediately behind the magazine opening.

 

I've used 200ft and 400ft 2-A & B mags (belt take-up) on 35-III and 435.

 

For 200 ft & 400ft 2-A & B mags that have the belt take-up, run no more than 60 - 90fps (depends on the condition of the belt - test) on the 35-III and the 435. The belt mags were designed for cameras that ran no faster than 50fps forward only. Once, in a pinch, I did shoot with my 400ft 2A mag at 120 fps on a 35-III that had a gentle ramp up to speed, it worked successfully, the exposed footeage was nice and tight on the take-up. Again it depends on the condition of the mag and the cloth belt.

 

The 400ft ?geared? magazine came about when Arri introduced the 2C and the 80fps 2C.

 

The 400ft 2C/35-III mags with the geared forward/reverse design, you can run them up to 130 fps on 35-III (version 3 in the 35-III line) and 435. On the 435, you will not be able to program the camera to run past 130fps with the "black" colored mags. These can be modified by PS Tech to go to 150fps, then painted grey.

 

These 35-III 400ft geared mags will work on a 2-A & B. I have a 2-A with the 2-B movement from the factory. The mags work great.

I agree, I have an SL Cine for Steadicam and I use the Arri 35 Slant mags, I have 400 and 200 ft version, I also use the 100 ft traditional Arri diplacement mags for small spaces on it, and I haven't had a problem yet.

SL Cine Camera with all MAgs and Cases. 3 four hundred ft steadicam mags, 3 two hundred ft slant mags, 2 one hundred ft mags. Camera comes with both Arri and Panavision super 35 GG's, and lens mounts. Body is crystal sync from 3-76 fps. This is the 235 predicessor, the perfect steadicam/handhend camera.

Price is $25,900 for everything. This is about half price, so it's first come first serve. The rental is usually $500 a day for the body and the mags are separate.

serious inquiries only please.

adam ward

wardsniper@gmail.com