Andreas Thalhammer

I've actually worked with the lighting system on 2 projects. (prototype though) I haven't worked with the huge Boom arm which holds the light on one side and the reflectors on the other (I think it's an old sound boom converted to hold the light) The system was developed by Chrisitan Berger, Michael Haneke's D.o.P. along with the Bartenbach lighting laboratory. As you all pointed out quite well there's good and bad sides, good things first: - The reflectors come in 3 different sizes, if I remember right, and they are unlike any shiny surfaces from a hardware store developed and you definitely can tell the difference in terms of quality of the light. Especially the orange one's which have some sort of honeycomb structure are very flattering. - obviously these plates are not heavy at all so setting up "lights" is not an huge effort. Disadvantages: -The according light is a 1200w parallel beam . I remember shooting on some DVCPROHD Camera rated @ 320; in terms of output the fixture is, although it is parallel beam, still a 1,2k HMI and we found ourselves often in the situation of adding more reflectors and more lights in order to get the desired F Stop. Again I have to point out that we didn't have the boom which probably gives you the ideal reflector - lamphead distance to get the maximum out of it. - There is for sure an economic fact that rental companies are very much aware of. If you purchase one of these kits and say they are not treated right (all the surfaces are very delicate!) and returned with some scratches, you will have to replace them; and quite frankly I think these things are too expensive to be treated as expendables. - Furthermore I remember the magnet mounting system for standard stands giving us quite a hard time but I'm sure they improved it over the past years. I wouldn't say that the system is bad - in my opinion the reflectors are gorgeous and I would love to have one set on standby on every shoot in the lighting truck. The only thing that didn't really convince me was the lamp. In general. Anyway.. My 2 cents. cheers Andy

Hi Guys! We are currently seeking for approaches on how to light a night club scene. We definitely want to use some moving sources and strobes. Any references/suggestions on either light setups or scenes would be very much appreciated! best regards. Andy

i like every title designed by Kyle Cooper (Se7en, Spiderman I+II...). Anyone remember the Dawn of the Dead remake title sequence? that was cool...

hi! talking about city of god i wanted to ask how these image freezing 360° shots are made!? looks amazing... greets andy

Hi ! Can anyone tell me if there's an online resource for the Arri 16 Sr 3 manual? thx greets andy

Hello! I recently watched "Open Water" a very low budget production filmed with DV cameras. I recognized that the scenes at the beginning of the movie (the part where the two main characters are still on the land) look really bad, like a homemovie. I wonder if this is due to wrong lighting because i found out that "28 Days Later" is (except the last scene) entirely shot on DV with Canon Xl1 cameras and that movie looks pretty amazing (as said i didn't realize that the movie was shot on DV before). Any helpful commentaries? A second question. I watched Michael Bay's Texas Chainsaw Massacre and was really impressed by the warm summer tone of the movie. I ask myself whether they used some warm filters or they did it all with color correction in postproduction!? I found no closer info on that and i would really appreciate it if someone could explain to me how they made it and (if done in PP) what kind of software they used. The only info i could find on imdb.com was Cinematographic process: Spherical ;what does it mean!? As you can see I'm a complete newbie to cinematography. Thanks Andy