Alex Haspel

i'd not use an aaton a minima or a any other very light camera if your'e going handheld. my experience is that the heavier the camera is, the steadier the image is going to be. it might be quite a pain in the ass, but the camera's weight is directly proportional to the image's steadyness... as for the easy rig: i've never worked with it, but i suppose that the heavier the camera is, the steadier the image is going to be, still being far away from the steadicams steadyness. i hope my rather bad english is making sense. good luck!

http://www.35digital.com/digitalfilm/index...on_entries&id=5 i'm not sure if the pro35 adapter has already been mentioned. it projects a 35mm sized image on a rotating groundglass(to prevent the groundglass structure from beeing visible) from where it is then picked up by the videocamera. you can use real film lenses and it gives you the depth of field of 35mm. but it costs you about two stops of light...

you might find this useful: http://www.panavision.co.nz/main/kbase/ref...calcFOVform.asp

sorry, i'm close but not close enough. never worked in my neighbourcountry.

there are 16:9 ground glasses for the srII. ask your camera rental house, i shot with one just weeks ago.

i don't know what look you're after, but i'd take some camera nd filters with me... just in case to reduce depth of field when needed.

relax.. film forgives quite a lot mistakes... i remember my first film shot as dop ... it was a student film, and actually i was dop, operator, camera assistant and loader in one person... this lead to some mistakes i made. .)i was loading a few rolls quite sloppy, so the film was scratching on the side of the magazine -nothing happened .)i squeezed one roll in a bent can -nothing happened .)i forgot to put on the correctly measured stop on the lens (or however this is said in english), resulting in some over- and underexposures -nothing tragic happend, we still got it all right in telecine ..and a few more.. see.. you can hardly do anything wrong... relax and enjoy ps: i did post about that film here http://www.cinematography.com/forum2004/in...?showtopic=8299 oh.. and something else.. you might not want hear this in your current situation, beeing nervous and all.... but making mistakes is one of the most important parts of the learning process, at least in my eyes... the mistakes you've already made are the ones youre never gonna make again.

hi. im new here. i hope not to get flamed for posting this here at "in production", since shooting is long over... but i wasnt a member when shooting happened.. this is a little report of a short movie i was DoP for last summer. we had a very limited budget of about 3000euro... unfortunately all i have got by now is a making of-quicktime movie, with some bits and pieces from the actual film in it... so the screenshots are rather yucky and i cant show everything id like to... this is from the opening scene. it was shot on vienna airport, which was only possible by begging, begging, and connections. (a former school buddy from someones dad knew someone working on the airport, or something like that.. you might know how this goes...) this part of the film was shot on an old sony bvp70 betaSP camera we got for free (it had a defect pixel right in the middle of the screen, but someone in post corrected that) and a pro35 digitalfilm adapter with zeiss highspeed lenses. the scene was supposed to have clean, sterile, a bit of a high-key look... due to a lack of time on that location (and a lack of lightning budget on the whole show) we worked with mainly available light here... theres basically only a battery powered 125w hmi coming thru a 1/4 or 1/2 lee diffusion as a fill.. mounted on the dolly. the check-in lady had a lot of available light on her too, the rim (if its called like that in english?) comes from a kinoflo fourbank, and theres a little overall fill of a 600w photolamp (yes the flash-ones, but hey.. we got it for free for a week) on her too. the light of the photolamp actually looked very nice in color... it seemed a bit warmer than 3200K (if flashed of course it has 5200K, but we didnt really need that feature) and gave it a bit of a 'golden' look... the main part was shot in the cellar of an sausage factory closed decades ago. the whole part was supposed to look, darker, grittier, dirtier... we shot on kodak vision2 500 and an old 16bl... we've only had energy in form of 3x16A at 220V ... and of course no money for anything generator-like. so basically i had to light that rather big cellar with 3x 2,5kw hmi's , that photolamp mentioned before, a fourbank, and some building-site lamps...... oh and a piece of styro! here's one the first scenes here we have two 2,5's pointing in the cellar, in whose light the 3 stewardesses are standing in, one 2,5 flat at the wall behind them, and some fill styro bounced back at the girls darker side. unfortunately i have no shot of the guy to offer.. he was lit more even... with way more fill on him and even a tiny bit of a rim. the stewardesses were supposed to look dangerous, mystical(correct word?), two faced...since they are about to kill him. (yeah, the story was crap.) the master shot here.... with fourbank fill on the girls, and photolamp fill on the guy. we had to switch off the hmi pointed at the wall one saw in the previous shot because the fuses flew when 3 2,5kw hmis, the fourbank and photolamp were switched on the same time. it was rather terrible. the hero was already beaten down already here.. he knows the stewardesses are somewhere here with his money, but his glasses broke... quite a nice shot as i think... with the burned out whites... this is shortly before hes killed... i slowly went up with the grain in telecine from where he was first beaten down and broke his glasses. and i left away much of the fill light towards the end, where its getting rather dramatic, handcamera shackey and even a bit exitingly. this is the murder. ..well two littel piesces of it. the whole thing is rather graphic and brutal, i swear. it was shot on super8 with kodak tri-x rated at 400asa and pushed one stop. to my suprise it was not grainier as the end of the 16mm sequence, the one with lots of telecine grain. i wanted the super8 stuff to look even dirtier, but it didnt... theres hardly a difference. (it was neutrally (i think) telecined in germany, since i couldnt find any lab doing s8 telecine here.. ) well... that was it. dont be too harsh. my english is surely not the best and this was my first 'real' moving picture project on celluloid as DoP...