Hans Engstrom

Shoe covers to protect the on board monitor during transport and a clean, dry pair of socks for me to wear after lunch.

Typed wrong info on one of the zoom lenses, 3.4/35-70mm is it, not 3.5.

Hi! I own theese Contax Zeiss lenses (some in c/y mount and some in Aaton mount) 2.8/25mm 1.4/35mm 1.4/50mm 1.4/85mm 3.5/35-70mm macro 4/80-200mm (will get the 2/28mm when I get the opportunity and perhaps if I can afford it the 2.8/21mm) Now I´m looking for some wide angle lenses to use with the Blackmagic camera. Something affordable and not slower than 2.8 would be great. The SLR magic 12mm is not an option as theres to much CA, the 15mm Contax zeiss is a little to slow and not really worth what it cost and the 16mm Contax Zeiss is crazy fisheye like. Manual is also a must as I´ll be using them on the mft mount. Regards /Hans Engstrom

Was the 1st AC on a feature film last year that was shot in 2-perf. We used Arricam ST and didn´t have any problems except when we tried to get it up to 60fps. 50fps was ok but on 60fps it looked like there was problem with the preassure plate, the rental house said something about it being possible to do 60fps but that they had to do something first (which I don´t remember right now but perhaps someone can fill me in?). I didn´t have any problem with hairs and I think that if you look carefully for emulsion buildups in the gate you avoid that problem.

We shot two more commercials for the same company but I don´t have any material from them yet. Except for this lowres frame

Shot this low budget commercial the other day. camera: RED lenses: Zeiss UP Lights: one 4 kW arrisun I shot it in the evening sun bouncing the sunlight with reflectors. As the sun got lower I "replaced" it with a 4kw HMI (fresnel lens) with full CTS. The footage is not colorcorrected yet and this is just some of the takes in a row so some of the action is repeated and they are not in the order they will be in the final product. There´s also some strange compression artifacts in the clip. HD CLIP BIG file, almost 50mb

If anyone is interested there´s now a higher quality version available please watch in HD.

Low resolution version is up http://vids.myspace.com/index.cfm?fuseacti...ideoid=54533170 /Hans

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They are apparently re-editing it.

I don´t know why the recordlabel made it a private clip. I can´t watch it anymore myself. Will post a new link as soon as I have one.

Finished result. http://www.youtube.com/watch?v=TINEvQiQYIE Watch in HD as the standard quality sucks. Don´t agree on the use of some of the shots in the video. But what can one do when someone else is doing the editing.

Print screen from prores file playing (qt on pc)

Forgot to add that this is raw cc applied from the editor. He just wanted a green light on the look before he continued.

Got these lowres caps from the editor today, he applied some contrast and color to the footage (to match the animated parts of the video). The compression make these pics look grainy. have seen some of the hires footage and I´m satisfied with the results considering the limitations we had. /Hans

Shot a musicvideo this weekend on s16 using my own camera and lenses (Aaton LTR with CP-ultra and Zeiss HS lenses). I operated 40% of the video and the director operated the rest as I don´t have a video tap and also wasn´t feeling well. There is allready a animated video for the song so we just shot the band playing. We where only 3ppl in the crew. Me the director and a electrician. I was told there where 1 x 380v 32A and some 220v 10A in the location but when I arrived I discovered that we only had 1 x 380v 16A and some 220v 10A. When one of the guys in the band plugged in an amplifier without asking he blew the fuse on the 16A. I shot the video on shortends (7201, 7205 and 7218) The negative is at the lab so all I have so far is stills from a DSLR. A little contrast is added, thats all. The drummer is not supposed to be standing in the background laughing. It´s only a reference pic for the lighting on the leadsinger. Will post more pics when I get the footage. This is the first musicvideo I´ve ever shot so it was a new experience. I belive the budget for this shoot was 2000 USD (including salary for everyone) so it´s dirt cheap. regards /Hans

A reference picture taken with a DSLR. The drummer isn´t supposed to be standing up laughing in the background ;) .

Thanks all for the replies. Decided not to go with the 7279 or the 7219, instead I used some short ends that was from 2008. A mixture of 7201, 7205 and some 7218. Will do a clip test on the 7279 to see if it´s usable or not. I´ll post some frame grabs when I get to see the footage. regrds /Hans

I got some 7279 that I myself unloaded back in september 2005 and since then stored in a fridge. The film is not getting any fresher so I´m thinking why not use it for a B/W project I have this weekend. I was originally planning to shoot on some fresher shortends (7219) that I also have, but why? I´m going for a hard contrast look and grain is not a big issue. What can I expect from a high speed stock thats 3 1/2 years old? I´m planning on rating it at 250.

Thanks for the review but I´m guessing that what you call "low-light performance" is actually compression artifacts introduced somewhere in post, as it´s a DVD movie. The low light capability of the camera is impossible to judge from a DVD as you don´t know how it was lit and what was done in post.

There are T12s as well not all 12ks are HMIs

The winters here are really cold so the air is dry as all humidity become ice crystals. That might be why I haven´t had any problems with cracking lenses during our cold winters.

My experience is that you don´t have to put in a scrim on a 1.2k hmi, not even on a 6k only on big units (12k and 18k). Please correct me if I´m wrong but I never had any problems with smaller HMIs and I live in the cold part of the world.

As AC I only do freebies for friends that I hang with in everyday life. DPing is another story as it depends on the project. What I do when I get a call about a project is that I quote my usual rate aprox 500usd/8h day. If I then find out that it´s a low budget shortfilm and I don´t have anything in my calender I might be willing to negotiate. It then usually ends up around the same as I charge when working on a feature which is aprox half of what I charge when working on daily basis. If they´re not willing to pay that, it´s their loss, I´m not willing to work for free and perhaps miss a paid gig. The only way to get out of the "working for free world" is by starting to charge everyone. If they want qualified personel they should pay. I´m planning on building a house within a year or two. Perhaps I should start calling carpenters asking them to work for free since it´s going to be such a wonderfull house alltough my budget is low. :rolleyes:

Lately I´ve been getting more calls from producers expecting me to work for free. All of them have been RED projects. When I tell them that I don´t work for free they get suprised. In their world everyone will work for free and they tell me that I get the opportunity to work with the RED camera. Wow I get the opportunity to work with a camera full of bugs, the whole team are for sure going to have to wait for me rebooting the camera several times and I get to do this without salary. How can I be so stupid to turn these offers down. ;)