Lars.Erik

Hey there friends, We should really have our own section for lenses. Don't you think? Anyhow, I've been searching for the tv zoom lenses that breathes the least. So far I think Fujinon exceeds Canon on this subject. But there are several other brands out there. Do you have any thouhgts on this and which brand do you prefer?

You don't state the style of which you'll be filming. This is always helpful to state, specially when it comes to lighting. But nr. 1 concern I would say, is to make 1-2 walls removable, as you said. This is extremely important, or the shots you'll get won't be with enough variety. If you want to light it easy, well a diffused light from above, as mentioned is a good start. Bounce a few big lights into white cardboard, make a diffusion frame which is place between the bounced light and the elevator. Personally I wouldn't bounce light for fill. In such a small space, you'll make it more flat. I would probably go for a couple of 300w, place a bit higher than the camera operator. Close the barn doors almost the way inn. I don't use diffusion on this technique. And I like the way this looks. Conrad L. Hall did a similar thing. (Not that I am comparing myself to such a lengendary cinematographer). BTW, how many actors are in it? Are they all caucasian, or do some have darker skin? Are they all the same height? If there are children there, you also have falloff to worry about.

Hello. I'm doing a reality show in Arizona in January/February of 2006. We're shooting on the SDX900. And I'm in search for a good fisheye lens for 2/3 inch cam for rental. Do you know of any such suppliers in this area? Best regards and thanks for any info Lars Erik

Paul Wheeler has written some good books about High End digital filmmaking. (Focal Press) I've had great use for these. And yes, you are right. Digital filmmaking is becoming a profession where the videographer almost have to be a computer scientist to understand it all. (from a film point of view). And this is kinda stupid.

Oh, btw, there will only be exterior work. No greenscreen.

Hello friends. I need some advice. Haven't shot with this cam before. Sony is kinda dominating a lot of the Norwegian market. I know the difference between the 2 options. 4:2:2 and 4:1:1. But the producers are unsure about shooting DVCPRO 50. They say that people at home won't know the difference between the two formats. I have worjed with the XDCam a lot. This has a similar option w/ the IMX 50 setting. My question: will people at home see the difference between the two setting in the SDX? Bets regards Lars E.

Hey there. I have a small problem I'm trying to solve. I'll be shooting a doc in the dezert in January. It's all in Arizona. Now I'm a bit concerned about the lights. We have decided not to go for a generator. To heavy to transport and too much noise and hazzle. We will have a campfire to place people around. I've built small Kino like cam lamps. I have tubes that are 3200K. Also have ones that are 5600K incase of strong overhead sun at daytime. Now I was thinking at nighttime to either a - use paraffin lamps or b - use 12v Kino tubes I'll build and placing them around. They'll be powered by a Anton Bauer batt belt, or something like that I will do some testing on the lux cap of the paraffin lamps. We'll be shooting on SDX900 and DVX100a. Canon lenses, J11 and J17. (HD) Gaining a bit might be an option. But no more than 9db I hope. Do any of you have a better idea to how to get some extra lights in? No HMI pocket Pars, wrong colour and too expensive. to rent I'm afraid. I also thought a bit about trying out SureFire torches. Putting them in some kind of small diffusion box and placing them around. Have you tested these torches? Thanks for any info on the subject.

This is a good question. I think the answer is in the price range and the DigiBeta format. If you want to shoot completey HD for tv, well here in Norway it's just not done that often. Way too expensive still. I think this is the case for many countries in Europe. And other format cams as XDCam, SDX900 etc. well in the end they all get mastered out to a DigiBeta tape . So I think Sony is gunning for the "normal" tv market, since in the end, as I said, the program gets mastered out to DigiBeta. And you can't argue that DigiBeta is a good quality cam. Also with the new range of HD Canon lenses out there, they with the Dig do make a good picture. But as BritLoader stated, it may be correct to question Sony's decision on this. Specially since they will be introducing the XDCam HD format soon.

No. It's the DvW-970. http://www.ebh.cc/index2.asp?lang=swe

And I have to add, this I'm sorry. As far as "break even" goes, who the f.... cares? Thank god for Europe. Most of his films are distributed and financed through Europe now. The US has become, sadly, a kind of McDonald's when it comes to movies. Spitting out "blockbuster" after "blockbuster", sure the add looks a bit exciting. Then, when you take a bite at it, man, I get depressed over how much money is spent on making the same crap over and over again. We need people like Lynch. We still need to seee true film once in a while. Of course, there are good films in the US. And some of the best workers in the world. It's just the system over there now. Hope you can get real film people in executive positions again.

Hey there. I was a DP on a tv-series this summer. On that series was a operator who worked on the above mentioned Lynch film. And yes, I also asked: "what is he thinking? shooting on DP-150?" David said that he had chosen video because: a) he didn't want the look of the film to overshadow the actors. He wanted to tell a story about people. And letting a camera just be a camera. B) now, he chose the PD because he liked it. Period. What can one say? He's David Lynch. One of the last TRUE masters. He shot a lot of footage himself, and there was also 2 other operators on it. My operator and one more. Don't know who. So there was a lot of 3 camera setting there. Saw some stills of the set. The set looks like a Lynch set. I'm looking forward to it. Just because it's Lynch. Hey, if he shot in S-VHS I'd still see it. Becuase it's a Lynch film.

Hey there. Just thested the new Sony DigiBeta. It's got a whole new body, with menues very similar to the XDCam. Similar actually, to be honest. This camera has a progressive scan on it also. I just tried it for a few minutes (was at the rental place to test a Steadicam), but it seemed like a great camera. The dealer said it was a great camera with excellent resolution. Anyone tested this cam seriously yet? Any inputs? Thoughts? Whatever? Lars Erik

Well, you could add a very subtle vertigo shot to it, if you have the means. They did a similar thing in the scene in "Goodfellas" when De Niro and Liotta meets at a diner at the end of the movie. A 2-shot with a very slow pull in and a slow zoom out.

Maybe you can put up a big wall of white diffusion of some sort. Make sure it hangs straight, either bounce some lights to it from the back, or hit it with one big source. Let the people walk between the light and the wall and you are on the opposite side of the wall. It might work. Don't know about post though. Maybe someone else knows about that?

Just finished a tv-drama with similiar roofing in it. Our ceiling was a little more than 10ft tall though. I wouldn't use a scissor clamp. As stated, I don't think it's strong enough. And if a lamp falls down on your actors, man, you'll never work again... As Dimitrios said, try the hanging of wooden pience across the open hole. It's the fastest and easiest way to do it. The problem is that the lamp will then be a bit lower than the roof. Making a bit more difficult composing a frame. If this is not possible, then you will probably need to hang up a wall plate. I had 2k's FF on these from the ceiling (and these lamps are quite heavy), I made holes and screwed the plate in with expansion screws. The 2k's hanged for 14 days, with no sign of failing. This method involves making a few holes in the ceiling, so you better ask the school first. We had a interrogation room for our drama, as well. I used a 2k Space light with great success. This lamp is designed to hang straight down, and give you the one source heavy beam effect. It can be a alternative to the 1k's. Then you onlu have to make on ehole and attach a big screw with a attaching ring in it. This is what I did and it worked great. This lamp also hung for 14 days.

Personally I mostly shoot video. And I love video. I don't shoot film that much. But if I were offered this project, I'd try and at least speak to the producers about doing it on S16. As stated, get your hands on a older ARRI that works. With hard lighting scenarios (Greece), you'll be in trouble when shooting on video when don't have any lights to help you out. If it was for tv, you might get away with it. But when shoting for a theatrical release, you don't get away with things that easy. You should talk to the director, figure out the amount of film/tape you'll be using. Then you know if you can afford film or not. But then again, can you afford not to? Haven't used the XL2 myself. Maybe you could do some test with it? Good luck to you. Hope everything works out.

My advice is this: get a make up artist. Trust me...you won't regret it. "A close up is only as good as it's make up" John Alton

If you can. Try and shoot 16:9. This will help a lot. Imagine 12 contestants standing besides each other, and shooting in 4:3. A very BIG framing... As for inexpesive lighting...always difficult. One way is to use tons of chinese lamps from IKEA. Hang them in the ceiling using auto poles. Use fluorescent tubes...this one might not be that good though. Otherwise as stated, Kino or maybe even space lights. But these will set you back some buckaroos though...

Hey there people. Thanks for the great replies. The producer called me today and I said "let's do it!". So on tuesday I'll be starting with pre-production. To answer some of your questions: A lot of the work will be done handheld. We have about 6-7 sets. But they are all in the same building. We just have to switch on the different dimmers for each set. Some exterior work, but done by 2nd unit. The actors are very experienced. Done lots of theatre and film. So that should be ok. Again, thanks for the advice. Have a nice one. :)

There isn't any rule about it. But it's quite common that the reel is between 3-5 minutes long. I tend to add the pictures where one sees that I can handle myself in different situations. That being ligthing, composure and movement. The reel isn't a story. It's basically just pictures put together which is telling the producer/director looking at the reel that you are qualified for the different things they are looking for. But one can also just put for example 5 commercials ones done. There are many ways to do it. But the basic thing is not to have it too long. A reel is just a door opener. To let you come to a interview with the producer. You may want to add some music to the reel. If you can, have some colleagues lok at it, or post it here. People will then tell you what they think of it.

I've been asked about being a DP for a new comedy drama series. It's a four week shoot. With one week of light rig. The things that I'm unsure of is this: They have planned to be able to shoot 9 minutes every day. This is a lot. And the company who will be making it hasn't made drama before. Only documentary, reality and stuff like that. The place of shooting is also a concern. The ceiling is about 14 ft (4,5m) high. Making it difficult for a ceiling rig. But I've decided it has to be a ceiling rig, to save time. I'm thinking easy, but attractive look to the show. With a nice lighting contrast. I'm not that afraid if the actors walk into low light situations as long as they don't stay there too much. But: We will be shooting with 2 cameras all the time. This will save a lot of time. And the producer is also a really great guy. He seems very competent also. He's done a lot of drama. He is, along with me, a bit worried about the shooting schedule, and the ceiling. So it seems like he knows about the problems. But the production said it had to be there, due to money issues and time concern. We'll be shooting with XDCam, Progressive, zoom lenses. The look we're gunning for is in the same style of "24". (I know, it's shot on film, big budget series etc., but this is what we've been thinking of). My question is this: Is 9 minutes way too much too hope for? Only done drama with one camera situations before. What do you guys think? Personally I think it can work, but then again, we don't have a lot of time to do mistakes.

Usually they don't give out booms, stands, tripods etc. with the cam. You have to rent it too.

Being nervous is part of the process. This is a good thing, I believe. This way you'll stay humble to your profession. The day you are no longer humble, is the day you may become arrogant. Which may make you sloppy. Just remember to get a good nights sleep and stay positive. Film making is not rocket science. It's a difficult job, yes. But hell of a lot of fun! PS! I've been in the industry almost 10 years now. DP last 3. Still I am quite nervous before the first day of a job. Even the easy ones... But after a day or two, it's all good. Have great fun!

Always keep a small vacuum cleaner with you. Clean the film changing tent at a regular times. This way you'll avoid hair on the film. ALWAYS check the remaining of the roll after each take. This is very important. Say you have a important scene which involves great drama from the actors. You need to know how long the scene is and how many minutes are left on the roll. Write down the f-stop number of each scene. This is helpful for re-shoots. Remember to learn. Listen to the DP and the focus puller. Being a assistant is also about the learning process. And the most important, well almost, if you are unsure about ANYTHING, even the most simplest thing. Ask the focus puller or the DP. This way you'll cut down the chances of any mistakes. If there is a video assist on the set, this person will take care of the monitors. Good luck

If you want one that's smooth and has a head that won't wear down too fast, you will need to invest roughly $1800 in it. Brands like Vinten has a model named Vision 3. I've used it sometimes and it's good for 1/3" work. If you want too use the tripod later for 2/3" work with full cinematography gear, rods, matte box etc. this tripod will probably be a little lighweight. I'm not sure you'll get a decent working and smooth tripod for under that. You could always call your local rental house too ask them if you can check out some of their tripods, see if you find one you like I mean. Good luck in your search.