Ian Coad

Sold

Sold

$23,500

Bump, now $25,000

Personal camera body. Very well taken care of. Selling for $30k Hours 792High speed, 4:3, ARRIRAWBattery Mount:Gold and V Mount includedCase:Innerspace Custom CaseMedia:Codex 5 x 512GB Capture Drives + Codex Dock and CablesCables:1′ 2″ Short & 2′ 1″ Medium Eyepiece cables,5 pin to 3 pin audio cable,4′ and 6’6″ Battery CableAKS: Arri Shoulder pad, Arri BPA-2 baseplate adapter, Tilta Baseplate, Wooden Camera Dovetail IMG_9939.heic IMG_9952.heic

For Sale: Atlas Anamorphics A Set: 40mm T2, 65mm T2, 100mm T2 Includes wheeled SKB case, front and rear caps. Excellent condition, like new, used for only personal use - never kept at a rental house or rented out through Sharegrid. Serviced by Duclos. New w/ tax (CA) from Atlas: $29,561.72 Selling for: $26,000 Located in LA.

We won a film competition that awarded us a film credit of $2000 for any product (film stock) from Fujifilm. Which means its new film, not old sketchy film. You can come with us if you like, we can place the order for you, or if possible hand the credit over to you - whatever is convenient. $2000 credit at Fujifilm for $1500, OBO Thanks.

Deluxe Gamma & Density Chart - condition, basically new. same one they sell at film tools: http://www.filmtools.com/gamma-and-density-film-chart.html but for $150 - OBO. I'm in Silverlake.

just a heads up, these sold today thanks to craig and his wonderful list.

I can run it into the post office on saturday morning and check if you like - i'll report back.

84 issues of American Cinematographer for $45. All were bought as backissue stock several years ago. Most have not been opened, much less read. I live in Silverlake, let me know if you are interested. 09/09 - Where the Wild Things Are (Acord) 01/08 - There Will Be Blood (Elswit) 02/08 - I Am Legend 03/08 - Mad Men 04/08 - 21 05/08 - Iron Man (Libatique) 06/08 - Indiana Jones 4 (Kaminski) 07/08 - The Dark Knight (Pfister) - 2 copies 08/08 - The X-Files: I Want to Believe 09/08 - The Duchess 10/08 - Body of Lies 01/04 - The Last Samurai (Toll) 02/04 - 24 05/04 - Van Helsing (Daviau) 07/04 - The Terminal (Kaminski) 08/04 - 85th Anniversary Issue 09/04 - Vanity Fair 10/04 - Sky Captain and The World of Tomorrow 11/04 - Alexander 12/04 - Lemony Snicket (Lubezki) 01/03 - Gangs of New York (Ballhaus) 02/03 - Chicago (Beebe) 03/03 - Daredevil 04/03 - X2 05/03 - Conrad Hall Memorial Issue (Hall) 06/03 - The Matrix Reloaded (Pope) 07/03 - The Hulk 08/03 - Terminator 3 09/03 - Hero (Doyle) 10/03 - Kill Bill (Richardson) 11/03 - Angels In America 02/02 - We Were Soldiers 04/02 - Hotel 05/02 - Insomnia 06/02 - Spider Man 09/02 - Ghost Ship 10/02 - Frida 12/02 - Lord of The Rings: The Two Towers (Lesnie) 01/01 - Cast Away 03/01 - Blow 04/01 - Captain Corelli’s Mandolin 06/01 - Moulin Rouge 07/01 - A.I. (Kaminski) 08/01 - Planet of The Apes 09/01 - Band of Brothers 01/00 - Any Given Sunday 02/00 - Titus, The Beach (Khondji) 03/00 - Mission to Mars 06/00 - Gone In 60 Seconds 08/00 - Hollow Man 09/00 - The Cell 10/00 - 0 Brother, Where Aut Thou? (Deakins) 11/00 - The Grinch, The Yards (Savides) 12/00 - Unbreakable 01/99 - Star Trek: Insurrection 04/99 - The Matrix (Pope) - This issue is unopened and wrapped in plastic 6/99 - Summer of Sam 07/99 - Wild Wild West - 2 copies 12/99 - Sleepy Hollow (Lubezki) 01/98 - Amistad (Kaminski) 06/98 - Bullworth 07/98 - Armageddon 09/98 - Without Limits (Hall) 11/98 - Velvet Goldmine 12/98 - Playing By Heart (Zsigmond) 01/96 - Twelve Monkeys 02/96 - White Squall 07/96 - Independence Day 10/96 - Sleepers 02/95 - The Secret of Roan Inish 03/95 - Legends of the Fall (Toll) 07/95 - Batman Forever 01/94 - The Pelican Brief 04/94 - The Hudsucker Proxy (Deakins) 07/94 - The Shadow 10/94 - Forrest Gump 12/94 - Mary Shelley’s Frankenstein 01/93 - Chaplin 05/93 - A Far Off Place 10/93 - The Age of Innocence 11/93 - Fearless (Daviau) 12/93 - The Nightmare Before Christmas

thanks guys. great advice. problem is that i always gravitated towards darker material, so i don't have much in the way of commerical looking footage. that's not to say that i'm not interested in doing it, its just that i don't have much of it. i think what i'm also seeing from your responses is that the reel needs to come out of the gate faster and showcase more variety. i think i'll just remove the segmental structure and have it be a collage of images. thanks. -I

i'll take those two cents. thanks for taking the time to comment. varied meaning, you think i need to include more work - from more projects? i have some, i just felt it stood out quite a bit and weakened the average of the material - maybe i need to rethink that. as for the music i spent three years in film schools with song choices popping up, being considered and then fading away - nothing seemed to be both appropriate and energetically enduring. i know i've seen a million reels with slow paced instrumental tracks - which to me personally has become really typical and boring. i've had a lot of electronic options, but they always felt a little soulless and meaningless. i'd like to hear more about why you think the current track doesn't work - i'm certainly not looking to undermine my own images. thanks again. - ian.

17 views, no comments? too fast, too slow, is incompatible with what people generally look for in a reel because of x, y, z?

would really like to hear people's thoughts on this one... http://vimeo.com/15619184

So I've debated for the past three years of film school (graduated in may) about what sort of reel I wanted to have. Most people seem to shoot for the fast paced, swath of entertaining images. The end result is mish-mosh of contextual-less imagery, which often tells little about the stylistic approach to the material and ultimately about the cinematographers contribution to the film. Leading me to wonder, is an effort to entertain the viewer completely missing the point? Although slightly different, when I've looked for steadicam operators in the past, it's been completely about their intuitive abilities and their operating skill - making the editing, music and pacing of the reels irrelevant. Is it foolish to think that someone looking for a DP might feel the same way? I wonder, do people actually turn off reels because they are bored with the video, aren't they instead unimpressed by the material? Anyway, comment on the question or on the reel which you can view here: http://vimeo.com/15522331

i don't see a lot of vimeo clips on professional websites, i dunno, i don't mean any disrespect, but i don't know that it has as professional of connotations as direct steaming. certainly i'd do it if that little vimeo logo and its signature features didn't show up. just my opinion though.

Editing, computers, codec stuff is a little foreign to me as I'm less techy than I should be. That being said, I'm trying to work out what format my final edited reel should be in. I'd like to squeeze as much quality out of the image as I can. I'd also like a compression that's pretty accurate to the original and wont undermine the image. From what I understand a good choice would be edit and export in H.264. Other questions regarding this: 1. I'd like the video to play 2.40 - without black matted bars above and below the frame. Does anyone know how to do this in Avid or Final Cut Pro (preferable). 2. If the DVD copies are H.264 is it a bad idea to pull from these - will this compromise the quality OR should I import from the d5 masters? 3. I plan to have the website play a quicktime - not a youtube or vimeo video. Anything in particular I should know about this and H.264 or any other favorable export format? Thanks very much guys, I look forward to hearing back from you. - Ian.

thats pretty much what i thought, which is why i feel like i have to wrap my head around what cronenweth did: http://www.scifitv.com.au/Content/Blog/Pic..._525/blade4.jpg the relationship of that bright light close to camera, yet not overpowering the rest of the light shaping the faces

for a long time i've been wanting to know how to get that 'red eye' effect that you see in tons of low quality consumer-grade photographs, often from disposable cameras. this effect showed up in blade runner (the owl) and in some of the replicants eyes. mark romanek's music video for fiona apple, 'criminal' recreated the disposable camera effect - light over the camera, lots of fall off, red eyes. i red something about it on wikipedia mentioning that it had to do with the fact that with flash photography the iris in the human eye doesn't have time to close before the flash goes off, so light bouces off the back of the eye and is reflected back towards camera. any suggestions of how to do this?

I will be shooting a short single scene film in several weeks. we have elected to shoot color reversal and have it cross processed. from what i have read there are some characteristic differences between cross processing the tungsten reversal 64T and the daylight reversal 100D stocks. the scene will be an outdoor daylight scene. an epilogue of images at magic hour/sunset will conclude the film. 1. i have read that the characteristic cyan/yellow look is achieved when cross processing the tungsten reversal stock. eg 'domino' http://trailers.apple.com/trailers/newline/domino/ 2. i'm also trying to discern the differences found in shooting with daylight stock. 3. while this may be only for still cross processing, i've read a lot of discussion about an underexposure compensation. that the cross processing essentially fills in a stop. any info, suggestions you have to offer would be appreciated. thanks.

thank you, sir. that's more precise than what i had envisioned.

i have an image in mind for this scene that isn't far off the effect seen so frequently in bladerunner. a character crawls across a bed to turn on a televsion because they can't sleep. behind them is a window, i want to hit them with a headlight gag as they are halfway down the bed, sihlouetting the character's body. i know that i should probably use a rig with two lights - i was thinking source 4's. and using an oil based haze machine to make the light beams more tangible. i've got some ideas about how to rig and mount the lights, my only question is whether to have them both mounted on something - which then turns, or to simply move them independently and match their panning motion. i hope this makes sense. i've love any advice on how to pull this off. as far as the story is concerned its about a boy in a trailer park, i can't see xenons being fitting for this environment. these headlights would have to be motivated by something like an old truck or a junky car. thanks very much. - ian.

in a week or so i will be shooting a scene where a character is surrounded by hazy light coming in through a window. A 4K HMI PAR will be parked outside the window. The shot will be performed in a near profile, the background behind the shaft of light will of course be in the shadow, with little detail. However, I am wondering what material i could use to generate the best 'dust,' meaning what will appear floaty and pick up the light? I had thought about using scissors to turn a white terrycloth towel into mulch, however i think it may be too heavy and settle too quickly. The problem is that the dust needs to float, which means something very light and fiberous, but the sort of fiberous material that can seperate.... ideas? thanks, ian. ps. i wasn't sure which forum was best suited for this quesiton. move it if you please.

so i'm working on a film for a director who has cited the washed out/low contrast look of friday night lights (the feature, not the tv show). to me it looks like the film might have been pulled, or used a low contrast stock. does anyone know what stock/processing might have been used on this film? any knowledge would be highly appreciated. thanks very much. - ian.