Stephen Williams
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Posts posted by Stephen Williams
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hey everybody !
does anyone know how to reach jeff kreines from kinetta ?
i sent him some e-mails,but he didn´t answer. we would like to use the kinetta on a big shoot next year (actually we are thinking about buying two of them) but in their homepage are no kontact-details.
where is kinetta lokated (UK?US?) and are there any phone-numbers.
i couldn´t make it to the NAB but i would love to get in contact with them.
thank you all for some input !
all the best
sebastian
Hi,
Jeff posts every day on CML www.cinematography.net if you join the kinetta forum you will be able to contact him.
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Hi,
> A new AC helped me with a pitch 3 weeks ago. I have got him 2 days work since
> then!
Why did you do that?
Phil
Phil,
I always try to help any talented crew if I can! I am a DP not a producer trying to save money!
Stephen
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Hi,
I have long learned that the kind of contacts you make on freebies are generally worth no more to you in the future either.
Phil
¨
Hi,
A new AC helped me with a pitch 3 weeks ago. I have got him 2 days work since then!
Stephen Williams DP
www.stephenw.com
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Even with certain tungsten units on AC power there is still flicker problems at higher speeds. I don't remember why, but I am sure Elhanan does.
Kevin Zanit
Hi,
With small tungsten lights they cool down between each cycle of the electricity, I have seen flicker from 1k's but not 5 & 10Ks.
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I would stay away from HMI's, and stick with the larger Tungsten units. If you have access to DC power then you can run any tunsten light without worrying about flicker.
Hi,
Why not Flicker Free HMI's? If you need to light a big area you need so much light losing 5 stops with the Phorosonics, 120 Degree Shutter, Beam Splitter and 360 FPS. I have used 10K Tungsten for table top and ended up at T2.8. For Shooting a tennis player full size I ended up at a T4 using 12K par Flicker Free, in both cases using 200 ASA film.
Stephen Williams DP
www.stephenw.com
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Hi,
Dedo's are fantastic, the bulbs last a very long time and very cheep. IMHO the running cost of Dedo's is so low that they pay for themselves in 2 years.
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So sadly, my question still stands....which is best: deinterlaced Digibeta or progressive HDV?
Cheers,
Ben
Fink
Hi,
I would choose DigiBeta.
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Thank you sir. Your answer is very helpful.
-How about the 16x9 vs. the 4x3 issue?
BTW it is an outdoor scene that will probably be filmed at night with low lighting.
Although day for night is being considered.
The film camera will contain Kodak 5218/7218.
Hi,
You can mask the R16 to 16x9 or keep 4x3 so you can match whatever DV aspect ratio you shot.
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I'm going to be shooting some ads with a Panastar for some high speed stuff, as well as for normal speed stuff.
I may also end up renting a Photosonics to get higher frame rates.
Thanks,
-M
Hi,
You may be better off with 400' rolls shooting high speed. I had a Jam yesterday with a big roll on a MK II Mitchell very messy! You won't need silicon, that for the quiet cameras!
The Photosonics 4ER is very slow to work with, VERY heavy, needs a technician and has to be extensively oiled every 1000' or about 45 minutes from last oiling! With a 1000' roll you can get mabe 4 takes (360 FPS)if you call action just BEFORE speed, otherwise its 1 or 2 takes a roll! In 12 hours we shot 8000 feet and 8 set ups. Not Easy.Use big lights (10K 's) as small ones may flicker , or flicker free HMI's . You will need lots of light, the shutter is 120 Degrees.
Have fun,
Stephen Williams DP
Zurich
www.stephenw com
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And just for reference what is the actual loop length & thickness of the official Mitchell belt as I'm reluctant to pull my only one out of the body!
Hi ,
I have just measured the belts as follows:-
400' 44cm or 17 5/16 inches by 1/8 inch
1000' 58.2cm 0r 22 7/8 inches by 1/8 inch
That is undone in a straight line.
Stephen Williams DP
Zurich
www.stephenw.com
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Unfortunately, according to Sony UK (who hadn't even heard of it when I first asked) there are no plans to make or market a PAL version.
Sony said they were too busy with the launch of HDV, and that was where their priorities were.
Shame. I would have thought there was a sizable market for a 25p DigiBeta.
Hi,
That is sad news indeed! Hopefully by IBC that will have changed.
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I've never seen the effct on telecined 35mm footage which suggests it's either to do with lenses or that the grain structure of the film minimizes the effect when telecined.
Regards,
Ben Rollason.
Hi,
I have seen this with telecine, but to a much lower extent. I always ask for the noise reducer and all sharpening to be turned OFF at the start of the transfer, I prefer to see what my film stock and lens choice have produced.
Stephen Williams DP
Zurich
www.stephenw.com
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(as I understand there are no progressive digibeta cameras available - please correct me if I'm wrong). Ben.
Ben,
Sony have just released the DVW 970 DigiBeta. This can record progressive scan.
Stephen Williams DP
Zurich
www.stephenw.com
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I'm reluctant to pull my only one out of the body!
Hi,
If you do pull the belt out it's not a problem. Remove the drive belt unit and its easy to replace, while its out check the rolers are lubricated!
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Phil,
With many Panavision cameras you can change the spinning mirror for a beam splitter If you don't like the flickering. The PV cameras I have looked through have sharp and bright eyepieces.
Stephen
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Your math doesn't add up. If the set is 150 a day, at 3-for-7 that comes to 450 a week, times six is 2700 dollars.
However, I assume you mean they are charging 150 day PER LENS which doesn't seem quite right either, and maybe you should think about renting somewhere else. My local rental company only charges 50 a day for their Zeiss 35mm primes, and that comes to 4500 dollars for your 3-for-7, six week shooting budget. Less than half of your "deal."
If renting a set of lenses cost as much as buying a set of lenses, no one would ever rent.
And by the way, your signature refers to something "raping" when you mean "rapping." Might want to fix that.
Hi,
150 a day per lens was for Zeiss Ultra Primes. IMHO thats OK for fairly new glass. Used they would cost about USD 6000 per lens. Lenses hold their value quite well so an older set bought for 12K could turn out to be a good investment. If you rent you can choose the lenses for the project. I own a set of Zeiss Superspeeds, and a Cooke 20-100 zoom. However I will rent Cooke S4's if I have the budget!
Cheers,
Stephen Williams DP
Zurich
www.stephenw.com
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I have been told that After Effects does a pretty flawless letterboxed version from anamorphicly squeezed material though I have no experience with this myself.
Don't suppose you have any experience of this sort, would you?
Thanks again for the help!
Hi,
I use Premiere for myself and find a rendered letterbox is very good, so I am sure AE is good. I agree with David Cox to use an ARC when in a Facility house.
Cheers
Stephen Williams DP
Zurich
www.stephenw.com
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Hi,
One other thing, Nikon lenses have more barrel distortion, than Zeiss /Cooke's. That won't be an issue for still life! You can pick up Nikon lenses very cheaply on E-Bay.
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I'm going to be shooting some ads with a Panastar for some high speed stuff, as well as for normal speed stuff. Anyone have any info on idiosyncracies of and tips about the Panastar? Any info is greatly appreciated.
I may also end up renting a Photosonics to get higher frame rates.
Thanks,
-M
Hi,
At higher speeds you have to oil the gate fairly often, and before every take above 100 FPS like a Mitchell Mk II or GC.
Stephen Williams DP
www.stephenw.com
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Hi,
I have used Nikon Lenses for over 25 years on motion control cameras with a bellows focus.
They are fine for background plates and product shots. They look sharp until you do a back to back test with a modern Cooke or Zeiss lens. Then I have observed that they have more contrast but less resoloution, so the apparant sharpness is better than the reality, like crushing the black on video. The F stop can only be adjusted accurately in half stop's with a click. I would not use Nikon lenses for live action unless they were rebuilt as motion picture lenses. The cost would be so high I would recomend buying a second hand set of Zeiss lenses.
Stephen Williams DP
Zurich
www.stephenw.com
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> because you're jealous of AC's who make more than you
Whilst having far less ability? I don't think that's unreasonable.
Phil
Phil,
IMHO AC's earn every penny/cent they are paid. Ever thought of charging a rate based on your ability?
Stephen
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You know the part of the ASC manual that has the lens tables for depth of field, etcetera? I would like to find a pocket size book that has just that information. Carrying around the entire manual seems silly. Does anybody know if there is such a thing? What does everyone else use?
A kelly's wheel or Samcine Disc has that data. If you want a PDF and just print out the lenses you need then try www.cookeoptics.com
Stephen Williams
Lighting Cameraman
www.stephenw.com
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there are many perfectly capable focus pullers working on video drama.
Hi Phil,
Many of whom have also worked on film.
Stephen Williams DP
Zurich
www.stephenw.com
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I'm in the middle of shooting an animation project and my Mitchell GC's metal spring has sprung. It is still in one piece, but has developed a kink. I don't know how this happend, maybe when putting it on or taking it off the magazine's wheel. First question, will the kink be a cause of slippage affecting the exposture time or timing in any way or will it just be noisy? I have limited knowledge of the Mitchell as this is my first project with one. Two, should I be in the market for a replacement? I can not be down to long as I am on a tight schedule right now. Three, any leads on where to find replacement belts and would a rubber or other material be better then the metal springs?
thanks
phil
Phil,
A damaged belt COULD effect exposures. You could make one out of leather as original. However most people use the spring ones. Try www.frieseng.com (Its no longer Doug Fries) the guys who used to work there can sell you a new one. The contact info still works.
Stephen Williams DP
Zurich
www.stephenw.com
Working in England/ London
in General Discussion
Posted
Hi,
London is a very expensive place to live. Crew working on high end commercials earn a good living. However as Phil points out there is a lot of competition and its very tough lower down the scale.
Good Luck
Stephen