Mikael Lindström

For the Optimo 17-80 you need MB-14 and 6x6 filters, because of the front diameter of the lens. A long bridgeplate will be very useful for balancing your camera. If you are on tripod or dolly all the time I suppose you can keep the MB-14 with the UP series as well, Just make sure you get the right doughnut to go with them. Best regards, Mikael Lindstöm, 1st AC, Stockholm, Sweden.

Here´s another video shot with the Phantom HD, Sahara Hotnights "In private"

We´ll do some tests ourself, I was interested about your opinion beforehand to be in the ballpark once we get to testshoots. Lights used at the arena are discharge sources at 50hz. I think something like 29fps at 172d can do the trick. The thing is, we would like to keep the sync sound. I will keep you updated. Best regards, Mikael Lindström.

Hi all!!! We´re currently shooting a drama for television here in Sweden using Arricam LT at 25fps 180d shutter normally. We have a scene coming up where we want as much flicker as possible. The scene will be shoot on a soccerfield with the existing large arenalightning. One of our main characters will go into sickness during the game and we would like to ramp the cameras shutter, still keeping 25fps, in the shot to create flicker as he gets dizzy. Our electricity here in sweden is at 50hz. Any suggestions to which shutter angle too use? Thanks, Mikael Lindström, 1st AC.

My information from CSC, New York, is that D-20 is a rental camera. And that there will be a next generation called D-21, which will also be for sale. It will feature ugrades from the D-20 but I´m not sure in what way. Hopefully this means we will be able to use this nice piece of camera in Sweden soon. Mikael Lindström, 1st AC/Focuspuller Stockholm, Sweden.

The Aaton 35-III is a pain in the ass to load, its not coaxial and its very picky about threading. But if you know what you are doing its a nice, silent, little piece. Very, lightweigth and ergonomic for shooting handheld using primes. I have only used it once, for 1 month of second unit in the Norwegian archipelago under pretty severe circumstances; wind, saltwater, boatmounts during full storm in rain, helicopter rigs...As far as I understand it, it´s not really a rentalhouse camera since it is no workhorse. I think we only have two, both privatley owned, in Sweden. I´m looking forward to be working with the new Penelope tough. Always frustrating beeing on a chaotic shot. I like to find a nice rythm, a flow, to work in, it sometimes feels like dancing when its running really smooth.... Mikael Lindström, Focuspuller Stockholm, Sweden.

You also have to keep an eye on the sensor, treat it like a gate. You must keep it clean and dustfree at all times. Using one of these will help. http://www.bhphotovideo.com/c/product/4752...eaning_Kit.html Mikael Lindström, 1st AC, Stockholm, Sweden.

I know there were issues with the PL-mount but it has been fixed since. Another issue is the the shaky handcamera. And the pan is way too fast for a test, laws of nature when shooting wide pan shots at 25fps. The contrastratio is also a problem when it comes to comparisons. I was recently focuspulling for a 3 day shooting, shortfilm, using the RED with a Cooke S4 series. Recording at 4K 2:1 using 1:1.85 ratio. We also did tests with 35mm using fuji 8543 160 T and 8583 400 T. All on static tripod, just switching the cameras, same lens on both cameras. Interiorshots and a snowy cold exterior in the old town of Stockholm. I´m not sure if these test will show up on Chimney Pots FTP server or not but they were involved . But keep an eye open. The camera was one of the first hundred, very Beta without viewfinder and only the preview signal open. But to me it seems like a nice camera to work with once you get a proper set-up.

When using the Accuscene viewfinder with either CineAlta or Varicam, which gammacurves do you use in the Accuscene? Would it be correct to use the same preset curves as in the camera? And if changed in the camera, you change the Accuscene as well? Anyone play around with the matrix in the viewfinder? If so why? So far I´ve calibrated the Accuscene to bars and used the gammacurve corresponding to the camera. Would this be correct? Tips and how to tricks concearning the Accuscene most welcome.

Originally it came from 1st Ac Mikaël Meisen Dietmann in Sweden.

You want to switch off that annoying sound once and for all? This is how. Switch it ON, push "clear" and "+" for about 5 seconds until you hear a beep. Finished. So simple, yet so difficult....

What would 1/2000 be in microns? Thanks!!!

I now know what caused the vertical line. Very rarley screws holding the electronic part of the CCD´s becomes dislocated and you get shortcuts in the circuits. Especially when its very humid. Sony Denmark, they once before had the same experience, had to hit the camera in order to recreate the problem. Loose screws around the CCD´s and a lot of humid is causing the problem. It is now solved and the material filmed is OK. Problem solved.

Were shooting a feature with two Sony F-900´s, and discovered a thin blue/purple vertical line across the frame in the lefthand side on one camera. It is most visible in the lowkey areas, dark greys and blacks. It´s been increasing over time, starting on an exterior day with temperatures below 0 degrees celsius. And very humid. Its both on the monitor and the tape. Were using Digiprimes and both types of the Miranda, Accuscene and Astros. Blackbalance is carried out regularly, and where using 5 different scenefiles. The material is still Ok to use according to the postproductioncompany and the camera has been sent for checkup. Just wonder if you have any ideas or experience in this matter???? Thanks a lot in advance.

What is the shutter angle if the electronic shutter is switched off? Is it 180 degrees?

Hi there!!! I have a question about dislocated groundglasses for Arri SR3. If the groundglass is NOT inserted properly, until it clicks into its proper location. -What would be the results when it comes to framing? -Will the framing be far too high, way too much headroom? -And would it be noticable through the IVS if you were shooting steadycam? -If you´re framing for 1:1.33, will you still get the framing totally off or can you push the picture up or down if its going to television? I know you can´t get the right focus thru the viewfinder, I´m just curious about the consequences concerning framing. Regards Mikael.

Hi there!!! Were in the preparing for a feature to be shot with Sony HDW-750P and I just wonder if the VISTA-format in the camera menu is representing 1:1.85? Mikael Lindstrom AC - Focuspuller Stockholm, Sweden