Philipp Kunzli

It alway depends what you're going for. It works fine. The only issue is the your "widest" focal length is the 15.5mm from the aura... That on a S16mm... hmmm... but as I said, it depends what your going for...

Hey Everybody I'm in preproduction for a short film, which is planed to be shoot on the Arri 416. As I remember there is the possibility (at least on the 435) to offset the Filmtransport. Meaning that the shutter is running a-sync to the film transport. The outcome are "smeering highlights" from the Filmtransport. As I recall to remember one needs an additional control device, but I'm not sure. How was this technic called again? But much more important, is it possible to do this "trick" on a 416, or any ideas how achieve that look? Unfortunately didn't find anything in the manual... THX for your support and Ideas Philipp

Shooting is perfect if one even finds some time to shoot a roll of black and white film... Shooting Hotel Terminus in Genéva

Neither am I ! But fact is, if you have a close Look at the test results (link…) you see that at Cine EI 2000 ISO the the noise in the black becomes very strong. So heavy, that even adding a 701 LUT to the S-Log File, that "crashes the blacks", the result is definitely not what I call a clean Image. Testfile => 2000 ISO => page 35 & 36 / capter 1c http://frameworks.ch..._FS7_Test_2.pdf

If you just use it "the preset way". One is able to change it if you set the menu point "SDI1 & Internal Record" to "Record LUT" and afterwards set the LUT (even though it's not really a LUT) back to "Cine EI S-Gamut3/SLog3". Now you can set the ISO even you are in Cine EI

Hey Everybody Once more I'm sharing some test results with you... This time the Sony FS7 Having a closer Look at the results something strange occurred to me. If one pays attention at the waveform comparing 800 to 1250 ISO (at the proper Exposure) you see that at 800ISO there happens some heavy clipping. At the exact same setup at 1250 there is a much nicer roll off... Under the following link you find the whole test. (Every Setup as a whole site and as 100% detail) - Different ISO - Under- & Exposure - Underexposure and Bringing it back up in Post http://frameworks.ch/Sony_FS7_Test_2.pdf (it may take a few moments since it's 100MB...) Looking forward to your thoughts.... Greetings from Cologne Philipp

Hey Everybody kind of can't delet the "double-post" http://frameworks.ch/Sony_FS7_Test_2.pdf

By the way If you are Interested, under the following link you find a pdf file to the Sony FS7 test. One should pay attention to the clipping in the waveform at 800 ISO. It's much higher then at 1250! http://frameworks.ch/Sony_FS7_Test_2.pdf

Hey Everybody Im in Preproduction for a theatrical release documentary film on the rehearsal of catastrophes. Every 2nd year there are here in Germany some major rehearsals about nature catastrophes with about 20'000 "background actors" involved. The idea of the film is, to tell it as narrativ or fictional story. That means there is no narration and it's told only thru the action and the dialog from "the victims and the staff leader. Plenty lot of Mic's as well as more then one camera. The visual Idea is to be in the middle of the "tragedy" and feel its energy. To achieve this result we plan to shoot the drama part handheld, which is around 10 days of shooting. Since its going on the "big screen" and there going to be long parts just "drama-action" I'm looking for something to break the top edge of the handheld movement. (As well as having something to support the weight during some 12h days.) Who was some experience with the setup of having a gyrostabiliser and EasyRig? (At the moment we look at two different camera options: Sony FS7 or Canon C500 Thanks for your tips and tricks... Philipp

To be honest. In my opinion it really depends on the situation and the project. In some situations I really love having the 3ft Silent cat slider on a tripod or the dolly and just making some tiny adjustments. On the other hand sometimes it's nice to have a 6ft one and make some small traveling. The same time, in my opinion there is no slider travelling as smooth and gentle as one of a dolly. But It might also be that's not what that project is going for... My advice... Just rent one. There are so many out there and you get for every project the right thing...

Hey everybody I'm in preproduction for a documentary we start shooting next week and I'm quite excited since I'm going to work with the Amira. I'm used to work with the Alexa and always felt comfortable making the decision if we shoot Log-C or REC709 Now with the Amira one has the choice between Log-C or "LOOK" In the Look submenu one can now select between REC709, Vibrant, Commercial, LCC and so on... I assume the idea behind is, since the Amira is more a single user documentary Camera, while shooting you pick already the Look you aim for. With the goal to avoid color correction in post. But to me it kind of doesn't make sense. If I shoot Log-C and add in post the LCC converter Look plug in … et voila, it looks exactly the same… So way giving up the "safety" of having the full dynamic range? Do I misunderstand something? (I'm coming for the point where production said that they only like to have some little color correction, if there is something in-between Log-C and REC709… It looks like LCC is something in-between but since I figured out the situation with the Look Converter from Log-C It seams a waste of Dynamic range) Thank you for your thoughts... Philipp

Hey everybody I'm in preproduction for a documentary on which some parts are going to be shoot in Huston TX. As I just heard, the production doesn't wane fly in the equipment from Switzerland, they think about renting in there. Does anyone have some recommendations? The kit is something like a Sony F3 or F5, a Fujinon Cabrio 19 - 90mm 2,9 incl. all the accessories. As well as some Kino's or bicolor light panels. Thank's a lot for your help. Sincerely Philipp Künzli

Considering the mentioned underexposing. Yes there has been a mistake on my side. I toke the reading with a incident meter reading right in front of the gray chart. The light source was a 800 HMI Joker bounced over a true white foam board. During this test I did some color Test as well and aded a N.C.S. gel to the Light (no color straw). Unfortunately I didn't compensate this loss! It's between 1/3 and 1/2 of a stop. Under following link you find the same setup, without the filtration. Again it's the RAW recording and the Output grading space is set to S-Gamut/Log3. I apologize for the false information at the very first post. Sincerely Philipp Künzli http://www.frameworks.ch/F55_no_color_test.jpg

Hey Satsuki No I was not. The Camera Recording was set to S-Gamut3/S-Log3 like the output "grading color space" at the Sony RAW Viewer.

Thank you a lot for your answer, David. I appreciate it. Your last sentence about the underexposed Image seems to support the "known topic" about questioning the 1250ISO. As already a few times discussed It's probably more like 800 or 640. Even tough the gray card and the light meter says different...

Hello dear cinematography community... I'm in preproduction for a short feature, which was planed to be shoot on the Alexa. On very short notice the production changed the camera and now we're going to shoot on the F55. (Don't even get me started about this topic…) Fortunately I got the possibility to shoot a test but I'm quite surprised about the noise at the blacks... The plan is to shoot the project on RAW with the AXS-R5, like we did during todays test. So we recorded 4K Raw, the Camera was set to S-Gamut3/S-Log3, toke a measurement and the exposer hit the 18% gray right to 38% on the Astro. Now, at home I was wondering about the results, opened the files with sony's RAW-VIEWER, Set the "Grading Color Space" at S-Gamut3/S-Log3 again and as one can see the 18% grey is right around 38% on the internal waveform again. But on exactly this image one can see, the in my opinion, heavy noise. It even shows some lines which almost look like bad compression… Does anybody have any advice, did I mix something up or is that the way it is? I kind of can't imagine. Thank you a lot for your posts!!! Philipp Künzli

I'm always surprised how big people rate the latitude of Digital Cameras... I just did some serious test with an ALEXA and RED MX. My experience and test's tell me that the "printed latitude in manuals" always to high is. Our result was ALEXA +/- 10 RED MX +/-9,5 My experience with the Canon is something between 7,5 and 8,5 stops (depending on ISO) An other option (budget question) is the Panavison Genesis. I haven't tested it but what I read and heard it's something around 11. Also important to know is, that the curve from the Alexa is "moving" in relation to the ISO. (Log C, Pro Res 4by4) For example: With a low ISO you get more detail in the shadow. So actually what one need when you're shooting Low light. If you go higher the captured areas move up. Art Adams did some great test on that as well: http://provideocoalition.com/index.php/aadams/story/alexa_iso_settings_the_least_you_need_to_know/

Hello everybody I'm in preproduction for a short which will be shoot on a HDW-750P. The whole set up is quite standard. The only "unconventional" thing is, that the result will be a 2:35 aspect ratio. (Letterbox) Is there any way to have 2:35 markers in the viewfinder? I read in the manual (chapter 4-76) one has different ratios to choose. Unfortunately they aren't listed. Unhappily, it will be one day before shooting when I get my Hand on the 750. So I rather don't wane be badly surprised. I really appreciate your knowledge and inputs. sincerely Philipp

Thank you for your support

Hello everybody I Just got the job as a Clapper/Loader on a feature that's shot on 2 ARRICAM's. I must admit, most of the jobs I did recently have been digital, or some 1-2 week shoots on a 235. Also it's almost over a year ago since I had my hands the last time on a "MovieCam" Mag. I really appreciate some tips and tricks about loading ARRICAM-MAG, as well as some helpful comments in general. The movie is shot europa, thats why I'm Clapper/Loader togeter. Thank you guys a lot for your help. Philipp

Hey everybody I't might be a silly question but I'm slightly irritated. As one knows, or also prefers, is the native sensitivity of the RED between 250 - 320 ISO As David Mullen wrote is one able to work in RecSpace mode up to 1000 ISO with fairly noise. My question now is, what about the post production with Raw files. For example: I'm "rating or setting" the RED on 1000 ISO and expose everything for this sensitive. Doesn't have the native Raw files still a sensitivity of 250 ISO (to make it easy) and in that case aren't the RAW files actually 2 stops under? My two last shoots on the RED were all Outdoor or we light everything for "250". Since that in post, during the final grading on a Film Master we were able to work with the RAW files and their full range of information. Of corse, the Raw Image looks like a Ultra Low contrast print, but thru the big amount of information it doesn't really matter... Does it mean, what I highly assume not, if one rates the RED on 1000 ISO that you're only able to work on REC space during post? And you don't have the full range of the Raw-Information. Or is it, that the whole post is Raw File based and the "RED Space" is a "software or proxi" way which converts or calculates realtime the Raw Files into the Rec Space "look". If somebody is able to give me an breve explanation, how they worked/rated on the set as well as the whole post... I'd highly appreciate that. Thank you guys. Philipp

Hello Everybody I'm starting on July 4 with a 10 Day shoot. The whole movie plays outdoor at night. Most of the scenes are shot in a old town in Switzerland. But some parts on a wide field in the Alps and in the forest. I must admit I haven't done any day for night yet. We do have to possibility to move some days to shoot on a day with overcast. I'm looking for some recommendations, on what I should keep my eyes, what seams important to you guys and anything spacial shooting day for night on the RED one. Thank you guys a lot. I attached a scouting pic to get an Idea.

Hey Everybody, Im in pre production for a shoot where we build a rig on a Mitchell plate. Unfortunately I don't have one on me where I'd be able to take the measurements. I'm looking now for the exact dimensions / measurements. Inner Circle (hole) width Deepening, width and the width rotation blocking cylinder. If some knows a specification somewhere to download that would be awesome. Unfortunately I haven't found one. I hope you guy's understood what I'm looking for. thanks a lot and sorry for my english

Hello everybody I got the job to shoot a music video ether S-16mm or HDCam. The look we're aiming for is a very high key one. Who has experience and tips how to create this look with not to much light. (As we all know, there isn't too much money around for music-videos anymore) I'm assume that by the interior parts I should have the same exposure on "the object" as in the background. Is that right? But what about the exterior? Would you guys overexpose a stop or two, or better do the whole Look in Post? Also what about if I have to shoot on HDCam. I'm really thankful for any tips and advice.

My name is Philipp Künzli, and I am writing in regards to the music video for the upcoming weekend. I just wraped from a feature on which I worked on as an assistant and I'm looking forward to apply some inspiring technique. The principle Photography was shot in Albuquerque for 2 month. The DP on this movie is Ueli Steiger ASC. I am from Switzerland and moved to Los Angeles almost two year ago. I am a graduate of The Los Angeles Film School and have since worked in the camera department on several projects. Over the last two years, I have worked as a cinematographer and assisted several director of photography. As a result of my education and work within this business, I managed to gather substantial knowledge with cameras. I worked with ARRI and Movie Cam, as well as other Film cameras. I started in the Industry in 1997 when I worked 4 years as a technical project leader for one of the biggest TV Production & Rental Company in Switzerland. From 2001 until 2007 I owned a Postproduction Company in Switzerland. I also speak German and basic French. For more information about me please visit www.frameworks.ch Philipp Künzli