Alex Haspel

i think i found a better picture of our fantastic rig.. (my photoshop skills (or skillz, as i dare to say) are simply out of this world!)

i may present to you bored grip's best friend: it holds your food, your belt, water, a can of beer, a glas of wine, has an ashtray integrated and provides you with some artificial (well, tungsten-)sunlight for long night shifts...

strangely i was thinking about the same glorious gig as i read the topic title.. don`t forget to thank the friendly grip department for borrowing you a magic arm ;) oh, and script girl looks really pretty here.

a polecat costs about 3euros a day around here and it is installed within seconds. and yes, you could also hang curtains off them, as long as they are not too heavy.

if it's a really light light (ahem), why not use a polecat? not sure if that's how they are called in overseas, so here's a picture:

to make this a bit more discussable, how's your view on photography?

i haven't been photographing for quite long, since i've been working like a dog the last months. which is a bit sad, because i come from a photography background, having studied photography from age 17 to about 22 or so.. and as some of you might have experienced also, doing a work that includes taking (running)pictures doesn't really encourage you to take even more pictures in your (rare) time off. but as mdc, a band i'm also bonded to family wise, played here in vienna i decided to buy some 1600asa b/w material and grab my old slr again for the first time in many moons. the material was pushed one stop, and then scanned (from the still rather thin negative) by myself... the location was extremely dark, having about 3 small par cans pointing in various directions but hardly hitting the stage, so it was hard getting an exposure time adequate for a hardcorepunkband. but as the concert progressed there appeared to be another guy with a compact camera with an integrated flash, so i closed my aperature for a few stops and set my exposure time to that mode where it exposes as long as you keep the button pushed (whatever this might be called in english). whenever i saw him aiming i aimed at aproximately what he was aiming at and started exposing my negative, hoping he would shoot within the next few seconds and trying to approximately hold my frame blindly(slr).

shooting this little student short (which i dop'ed) was like therapy/holidays since the feature i`m gaffing for the last 3 1/2 weeks and the next 1 1/2 weeks has a nerve wracking low production tempo.. 6 to 7 day weeks, 12 to 18hour days, low budget indie fun, going at about 5 shots per day.. arr.. we shot this little 15min film in one and half days, a half one at the bathtub location and two half ones at the house. the lighting package consisted of a 2,5kw hmi fresnel, a dedo kit, a 2ft fourbank, 3 500 fresnels, and two 500w rifa lights, and of course a smoke machine! we shot on dvcam with a dsr500. oh, and i was my own grip/electric crew and operator and ac .. well, i had two friends of the director helping me, but they`ve never been on a set before, so i had to teach one of them in ac'ing and the other one in gripping and booming as we went along :) these are uncorrected stills in chronological order of the edit.. oh, and here are some photos from shooting: http://s7.photobucket.com/albums/y286/xl83..._und_panacotta/

a friend of mine is currently living in japan, you might want to send her a personal message via this forum.. http://www.cinematography.com/forum2004/in...?showuser=18730 all the best,

higher light output is not the result. the actual "source" is bigger, so the light hitting the object appears to be softer.

my first experience with 16mm was dp'ing a rather bad little short movie. we shot on a 16bl with the 12-120 angenieux stock zoom lens and a 5,9mm angenieux wide angle that had fixed focus at hyperfocal distance (no focus pulling possible). we shot on expired vision2 expression and had the money for developing and scanning it about half a year after wrap. the neg was very thin by then and the results were pretty grainy with exposure pushed in telecine. we also shot one murder sequence on super8 with tri-X stock that got developed and scanned at andec in berlin shortly after wrap. the funny thing is that this and the 16mm stuff fitted perfectly grain wise. here are some stills (off a crappy quicktime file tho): (the last two were the super8 ones) (honestly) i'm in a writing mood today.. my second 16mm experience was dp'ing a 30min short movie lit with nothing but practicals. shot 7279 because we got it cheap since it was expired also, but only for a few weeks. camera was the trusty 16bl again but with a set of zeiss highspeed lenses. the older ones tho, the ones with the 3 bladed iris. we could only afford a onelight pal telecine, and these are some stills off it: bye, alex

"ich schwenke, also bin ich" only funny in german tho... could probably be translated to "i pan therefor i am" ...

i can't see the pretty ups lady anywhere..

europe is rather big, but here in vienna there are 2 very reliable labs capable of doing this. Listo Synchro Film and Video bye,

recently i shot with the dvx100 for the first time, it seems to be a really nice little camera and in my opinion it's producing far better pictures than the gl1. it can do 25p too.

i own a flashlight for performing gate checks and better sight in dim light when ACìng. seriously, as a freelancer i hardly consider it neccesary. and for low/no budget student film stuff, i go begging at rental houses. as someone already said, working within the industry helps a great deal, you get to know people and production companys that will give you lighting or other equipment for little or no money (for non commercial student stuff). my 1? 40cent,

i suppose the missing registration is an issue not easy to deal with.

wow, that was some amazing stuff there! i especially enjoyed the shot of the womans back, beautifully lit. my only critique would be that it might be a tad too long, but as i know from personal reel experiences, cutting your own material is the hardest thing to do :) oh, and could it be that some shots were not de-interlaced? i think i saw lines when horizontal movement was happenening here and there.. other than that, magnificent. might i dare to ask what exact settings you exported this quicktime movie with? i've been fiddling around with that h264(?) codec for hours but never got results that looked and streamed that good... all the best,

ouch. that show made me drink! i also like this picture here:

arrr!! bad flashback!! i'll never forget that one! 10hours shoot with half of the time lost by arguing between DoP and director!! how much shots did we end up per night? 7? 8? also remember when they wanted us to lay down the hundrets of meters of 63A cables 3hours before camera/lightning crew call so that the make up peolple could plug in their pin curler? brilliant!

never shot underwater, but my guess would be a video transmitter/reciever system

that sounds like another accident than shown in the video.. maybe this production is cursed. or nicole kidman.

just found this while surfing the net in boredom: http://www.idontlikeyouinthatway.com/2007/...ot-boo-boo.html an insert car with what appear to be quite some some stuntmen on it looses control going around a corner and crashes into a pole. i found this video on some stupid celebrity gossip website, but i think their info seems right, does'nt look like a planned stunt to me.. does anybody know something about this?

what i forgot to mention was that there are actually two versions uploaded: the one @ myspace is almost ok compression wise, but not really running fluently: http://vids.myspace.com/index.cfm?fuseacti...eoid=1810067905 the one @ youtube runs more fluent but looks terribly compressed: i'm quite a fool with all things computer, so i'm hoping for your generous comprehension :) one more thing to add: actually not all of it was shot with the hvx and m2 adapter, only the steadicam stuff and the 3 or 4 transition shots from normal to all ascii .. the stuff that is completely ascii was shot handheld with a sony dsr500 operated by myself. thanks again, still looking forward to hear feedback, alex

hi i dp'ed and co-directed a musicvideo with a friend of mine for his band. we begged and borrowed al lot, the budget was a few hundret euros and everyone worked for free of course.. luckily http://vids.myspace.com/index.cfm?fuseacti...eoid=1405190794 a friend of mine works as an electrician at this studio, so we got it basically for only having to pay for used energy. shot with an havx200 in 25pn mode with an m2 adapter and a 24 or 28mm canon photo lens. the setup required about 90kw of space lights in order to get an stop of 4/5,6 in order to make focus pulling a bit more human. here's the video: http://vids.myspace.com/index.cfm?fuseacti...eoid=1810067905 looking forward to hear your feedback, alex