Andre Hansen

Hello, I just watched After Life (https://www.youtube.com/watch?v=DN9sr5wVkik) and was astonished by the lighting, the texture, and the ridiculously unsharp shots that added to the poetic feel. I watched on film in a local art-cinema. Do anyone know if the film was shot on 16 mm or if any special lenses were used? Kind regards

Thank you for the reply, Adrian! This a very low-budget film with 20 shooting days. We are aware of all the risks it includes. We have 15k dollars budget and when the 85 % of the film has been shot we can apply for a 20K dollars support for post-production (including editing + grading). Furthermore we have been offered to different editing suites that have file-servers that can handle big-production material. We also have free access to all lighting, grip and other equipment needed. But what I mean to say with this is that we cannot just rent another steadicam rig that suits the Red One. The one we were offered very cheap is something like the iStabYou 3-axis rig, but it only works with the FS700. Something rather easy to handle compared to classic steadicam. Though I will have the possibility to use Red One handheld with a shoulder-rig. But I mean - is that too tough working with for 20 days? There will be a lot of handheld shots. The FS700 with a rig like the iStabYou (this setup: ) would spare us from changing from shoulder to dolly in situations where shoulder is jumping too much. But as you are saying the FS700 might get as heavy as the RED One when rigged up. I don't know yet what the different suites have to offer us in relation to grading and editing. I am awaiting answer from the producer. We have just been offered two different suites so we don't know exactly what it includes yet. Self-said this could play a role in the decision of camera. But all the things you have mentioned goes into the consideration at the moment. As we have available grading-solutions I would like to shoot in RAW with probably either S-log or REDCODE. It will be premiered on a big filmfestival in Denmark on a big screen. I thought that shooting in 2K RAW with either Sony or RED would be fine if we want to preserve the possibility to be shown in the Danish cinemas (that might be reality). But what format would you recommend? I only know for sure that we will do the film in 16:9. Any suggestions to the format?

Thanks for the answers! The F55 is unfortunately not an option and we are shooting in Denmark. It basically comes down to whether the the low-light performance, high FPS, steady-rig opportunities minus good lenses and a high price with the FS700 is preferable over a free RED One that's heavy, not suitable for steady-rig, but which is still a great camera with good Schneider lenses. The director really likes the thought of a steady-rig so right now I'm mostly considering the FS700 option. Whether the 1st assistant cameraman jumps off the project or not we will still have a signed contract on the camera of course. Could one say that the Schneider lenses are enough reason image-wise to choose the RED One over the FS700 and its Samyang-lenses?

Hi In July I am filming my first feature-length film as DoP. I am a bit conflicted at the moment because I have two camera-solutions available. I think we will be filming in RAW no matter what. Options: 1. Red One + We can borrow it for free + Films in RAW + good prores options for compressed recording + Free Schneider-optics with primarily F/ 2.8 - Heavy and rather problematic to use for handheld 2. FS700 + The 1st camera assistant is the one renting us the camera so he is good with it + Comes with the Odyssey7Q-recorder which grants us the possibility to film in RAW and output in prores instead of AVCHD + Comes with a speedboster that adds an extra stop of light +/- Comes with cheaper (but well-reviewed) Samyang-lenses with a T/ 1.5 + 1.8 (28mm + 85 mm) + Easy to use for handheld shots - Is expensive to rent for the production to rent Problems: 1. We have a steady-rig available for a cheap rent but it only works with the FS700 as the RED One is too heavy 2. The Schneider-lenses are way sharper (right?) 3. We need to be very mobile on set and don't have a lot of time to rebuild the camera (which I fear with the RED One) 4. We are filming mostly exterior and have a lot of night-shots (half of the film) so the FS700 with low T-stop + speedboster is very smart under those conditions! Is it worth renting the FS700 when we have a free RED One available? Is the RED One as problematic to work with as people say? Can I use it handheld all day? We have a professional colorist and professional editing suits for post-production. We have about 20 TB of storage room during the production.

Hi I have joined an art-project with a director. Here's the idea: In the left side of the scene the audience will see a scene where two dancers will slowly begin to interact. On the right side I'm going to film the scene live, moving in a path I find interessting. What I film will be shown live in the middle of the room projected on a screen. And here's the twist: As the audience can watch scene both with their eyes, with difficulity because of the angle they are watching from, and with ease by looking at the screen in front of them, the screen will suddenly change into a pre-recorded video of the exact same scene with the exact same things going on BUT with a little change in color of clothes and similar things. I hope this makes sense? I'm going to act as I'm still filming the scene, but the audience might not notice that screen shows different details. So my problem is: 1. I have to transmit to a projector live in the first half of the show. Can I do this wirelessly? 2. How can I combine this transmission with pre-recorded film? I guess I will need a video-mixer? But how do I make this change? André Hansen

Hello I was just watching The Kooks' new music video online: Two questions: 1. What effect makes the red/cyan edges? 2. The bokeh makes it look like it was shot on old lenses or something? What causes the image to look like that? Any other thoughts about the look?

Thank you very much!

Hi This is my first post in here, but I have been reading posts in here for a while (virtue of a good cinematographer, right?). I have a big project coming up this summer, hence me and the director are looking at particular visual elements for the movie. We have agreed on the style, but practically I have a few questions: I know Kaminski pulled the shutter out of sync on this one. But how do I achieve a similar effect (we don't know if we are shooting on RED, Sony, Alexa or DSLR before next month)? It would probably be for night ext. with street light or a dark scene int. How do you get something like this? Is the light solely coming from inside? Saul Leiter. And here's also a Leiter. Any advice for achieving a 'blurred window-effect' with atmosphere and contrast? And last but not least: any suggestions on how to approach low-FPS-shooting in ext. night? Aiming for un-clearness and blurriness while still able to perceive what's going on. I'm also greatly inspired by the look in Bleu by Kieslowski. Thank you!