Alex Haspel

thanks for the kind words, richard. you mean this one, right? it's the final framing of a handheld shot beginning with this: the light on her face is all from the flashlight beiing reflected off the wall.... my working aperature was 2 and the light meter showed something around 0,5 or 0,7 on her face, if my memory aint playing tricks with me..... and as for the angieneux zoom... it's been some time that i shot with it, but i remember this thing beeing extremely soft an rather contrastless... this of course depends on the story you want to tell (you might want that look), but my advice would be to avoid using it fully open... i hope i could help, if you got any other questions, feel free to ask.. greetings and the best of luck,

no, i would have prefered 7218 too. It was a financially motivated decision. we had the chance to buy 7279 that expired in november quite cheap. i overexposed half a stop, for safety, and i think it turned out fine grain wise. i expected it to be worse.

what really stood out for me were the breasts of the girl talking on the phone in the first third of the reel. other than that it's a nice video-reel. you don't really tend in film direction, do you? at least the reel suggests so.

well, the one with the bad starter was obviously going on and off in irregular intervalls, and the other one was totally flickerfree with 25fps (50hz power over here). the close up of the cigarette was shot with 36fps, and as i expected there was some pulsing from the intact flouro as well. but i didnt mind, since it's the opening shot and therefore prepares the audience for some artsy-fartsy stuff theyre going to see.... and, what is power windows? oh, and there was no art direction in the kitchen, it basically looked liked this. the flat's owners even cleaned up a bit as we arrived :)

buy me a ticket and i'm in!

thank you! the hot spot.. well, of course, things like that are a matter of opinion, i'd say. my general approach to this project was kind of "what the hell, i'm young, i want to learn something, and this is a non-commercial project without a producer in my neck, so i'll just go and see how far i can go..." there were some shots where i leaned out of the window a bit too much, but my phylosophy is to rather risk something and have 80% interesting shots and 20% fu**ed up shots, than to come home with 100% of ok but boring safety shots. the flashlight... it was a recharchable battery powered consumer flashlight... the props people organized it, but forgot the charger :) so you're saying i can't compose???!!! ARR!! just joking. but you are on the right path, yes.. this project has extrmely few camera movement and is visually a rather "quiet" one. so, thank you! and yes, i'll post a trailer or something as soon as i get one. delhomme? ... dont know of those two films you named, but i'll surely check at my videothek... yes, you're absolutely right, it is an intelligent light with CMY color mixing programmed to change color and intensity up in that cabinet. no, your're not. sorry, i'm making stupid jokes again. i don't even know what that thing you described is... :) .. it's just a flouro with a bad starter. but i t looked really cool and had the wierdest colors, that's why i put those stills in there too. unfortunately i forgot to capture the purple phase, which absolutely looked the yuckiest, i loved it. consider that this is only a cropped 4:3 pal (720x576) telecine... we didn't use a blimp. and as for the follow focus.. i should get some set photos on monday, so then i can post some pics of the setup for you in here. yeah, super16 was finacially no option unfortunately, since we got the 16bl for free... so we letterboxed the 4:3 neg, and yes, we had markings on the groundglass, with halftransparent tape.

hi. these are uncorrected stills off the first week... we shot with an arri16bl, equipped with zeiss high speed primes (12, 16, 25 and 85mm) and follow focus (which proved to be quite tricky with this camera) on 7279 stock <br> <br> <br> <br> <br> <br> <br> <br> <br> <br> <br> <br> any form of constructive critisism (or praise :) ) is highly welcome ! thanks in advance,

Thank you very much for you replies! Panavision isn't really an option, because they aren't too popular around here. I don't even know of any here in Austria... And as for the Arri LT.. it really seems like an extremely nice camera for this show, but uppon further research, i fear that it's going to be too pricey... I seem to be coming to the conclusion that the Moviecam compact would be quite a good choice. Another Camera that popped into my mind was the Arri 35BL, what do you think about this one? How bulky/heavy is it compared to the moviecam compact? We are most likely to shoot with Zeiss high speed primes, which should keep the weight and size rather low as i think... I'd really be curious what those of you who worked with both the Moviecam Compact and the 35BL have to say about comparing those two.... oh, and what are the exact differences between the 35 BL I and IV? I couldn't find anything on the net about that matter... thank you very much for you replies yet, and thank you even more in advance for those still coming!!

hello friends... i might be DP'ing a 35mm feature, if it comes to beiing made.... nothing is fixed right now, but i was asked to put together a 35mm camera package of my choice. the format question is not yet fully decided, so i'll just go through all the cameras that fulfill the other requirements. i already DP'ed and operated the pilot for this project, which was originally planned as a tv series. the pilot was shot on DvCam and the team will be mostly be the same, except for a film experienced first AC, so i can make some judgements about the workflow and the requirements concerning the camera package. .)the camera should be quite noiseless, since sound is going to be recorded simultaneously. .)it should be light, compact and good for handheld work. .)it should be changeable to handheld rather quick, so a 1000ft shoulder magazine would be nice, so that one can leave this on also for tripod/dolly work. .)and we don't need any flashy technical klimbim, like ramps, we only need video assist... .)and of course it should not be too pricey in rental. cameras i thought of were: .)the moviecam compact (the SL would be too noisy, wouldn't it?) .)the arri 235 (how loud is it? couldn't find anything on the arri homepage) .)the arricam lite .)the Aaton 35-3 (but it seems to be rather noisy too) i must admit to only have zero to limited 35mm experience equipment-wise , but i am am an fully eduacated photographer with quite a lot of 16mm experience. so, what do you suggest? thanks in advance,

we used a sony tc 5 on two shorts i Dp'd .. it's a high end cassette recorder that takes type I, II, III and IV cassettes plus it is converted to use pilottone. never had a problem with it, extremely reliable. and you can also buy cassettes and batteries almost everywhere.. just in case ..

you dont have to.. just click the "free" button, you'll then come to a page with a 30seconds countdown running at the bottom. once this ran out, you can download the file, after choosing a mirror.

so you are calling grips and electricians pot heads? ;)

in german the gate check is also often called "fussel check" , since fussel means flake ... the word "fusel" on the other hand describes destilled, hard alcohol. at the last wrap party we had hours of fun disovering the "fusel check" and permorming it with lots of vodka. damn.. what a lame anecdote.

the arri 16bl groundglass has to be removeable, hasnt it? there are those 2 screws, which i loosened, but i still can't get it out.. am i just too stupid? any tips or indignities are highly welcome.... thanks in advance, alex

thanks a lot, to all of you! i asked this question because the director on a 16mm short i am Dp'ing on wanted to use one of those things. the piece will be entirely lit with practicals, shot on 7279 and a 16bl with zeiss high speed primes. and there will be one scene were flickering would even be quite nice... as i already said, thank you all very much... and.. if you have any tips to share concerning shooting entirely with practicals, feel free to do so! about the visual style... it's gonna be all indoors and extremely dark. i plan to expose for the lighter parts and let the rooms drown in black, using no fill at all. unfortunately we had no money to shoot any tests... but i'd say lens flares are quite an issiue, aren't they? but i suppose there isnt anything to do about that.. since practicals have this habit of sometimes beiing in the frame...

i'm not sure if those things are called like that in english too, so here's a picture for safety reasons: does anybody know if those are flickerfree at all speeds or only at 25fps with 50hz electricity network? thanks in advance, alex

a friend of mine told me a funny story he heard from another friend of him which is befriended with christian berger, cache's DoP.... i cant promise that this is true, but from what ive heard they had like 7 cameras and 3 sony technicians on the set, just to have at least one camera working all time. imagine the poor AC changing cameras all the time..

just found out that "everything is illuminated was shot by mathew libatique ... that's definately a point for that movie.

i just realized that i havent been to the cinema in months. ... i need a big screen flash real bad, after seeing hundrets of movies on a computer monitor ! (what was i thinking??) right now i'm pending between those: .)workingman's death (an allegdly really good documentary, even shot on s16 i think) .)a history of violence (don't really know anything about it, only heard that it's based on a comic.. usually not so much my cup of tea, but does it at least look nice?) .)paradise now (about wo childhood friends being recruited for a suicide bombing in tel aviv, sounds rather interesting) .)everything is illuminated (only seen the trailer, seems like a kinda nice movie) .)cache (allegdly good, but my least favourite. i want to see film, not hd now....) so, my dear colleagues... have you seen any of those? which ones did you like, not only cinematography -wise ..? it's 1:27PM now, i need to decide at around 8pm thanks in advance, this forum is great, i trust you in not dissapointing me!

hi, just one quick question.. how do i make houshold flouros flicker? and i dont mean a "wrong shutter angle" -kind of flicker, but a flicker like when the flouro is ignited. ..just like the starter was broken... can this be achieved by plugging them on a dimmer? thanks in advance, alex

tele, you say... havent seen the film but my guess would either be .) experienced operator or .) experienced operator with an easyrig or .) experienced operator on a dolly or wheelchair or something to that extend...

damn.. no linking to crewpix... no budget commercial shot with a 16bl and 1 roll of vision2 expression

well, andres victorero wasnt really wrong... the compression surely is a big factor with this downloadable version, but the image was rather soft before that too. .. i'd suggest anybody not to use this zoom.

no budget commercial shot with a 16bl and 1 roll of vision2 expression massive umm.. camera department: gotta love going handheld with the amazingly comfortable bl... btw.. the spot can be viewed here: http://oneartplease.com/index.php?site=4flav_download (the postpro - guy's website)

here you can find a no-budget commercial i did with the 16bl here in both .wmv and quicktime format. http://www.oneartplease.com/index.php?site=4flav_details it was shot with the rather crappy anginieux (sp?) 12-120mm zoom and a 9,5mm wide angle lens. keep in mind that, as mentioned before, the lens and the stock are way more responsible for the image than the camera. the stock was vision2 expression (it was disconitiued, wasnt it?)