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Glenn Hanns

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About Glenn Hanns

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  • Birthday 12/27/1971

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  1. In Australia its $5,000 AUD a day, no lenses just camera/SRW-1 back, batts etc. Cheers.
  2. Its often difficult to tell wether an image has been graded or if what you see was accomplished on set. I would say that this is probably an image that has a partial blue tint created on set and has also been graded, IMO the blues look too rich to have been done without grading. http://imdb.com/Photos/Ss/0241527/3248.jpg cheers.
  3. I love it when a director talks about the emotional key moments in the film and how it should "feel". When the relationships and power plays of the work are revealed it potentially opens the chance for me to hook into a visual representation that works dramatically, from this the technical aspects and tools in my repertoire can be utilized.
  4. The director did want some parts to be consistent, so I had someone yelling out the frame rates from the LED readout. I could keep it at a certain speed if I wanted, One jib shot was done on an LT just to make it easier.
  5. It was possible to vary the speed easily just by grabbing onto the drill head and slowing it down and then giving it a quick burst again to ramp into slowmo.
  6. Thanks, amazing what you get straight out of the box with handcrank.
  7. All hand cranked, each shot/setup is straight from the camera no effects added. Cheers
  8. Hi, Heres a link to some footage I shot with the Arri 35-3 with the handcrank option. This was removed and a standard electric drill was attached and run at various speeds 0-70FPS to create this effect. Note: No grading or sound post done. Cheers http://web.mac.com/cinematographer_/iWeb/G.../Handcrank.html
  9. I would if it was one shot, but its every 5th shot and its on a G2 with primo anamorphics so id like to have something smooth as well as the fact that getting time up on a geared head is a good thing to do.
  10. ** The chances someone rolling the ball in and the actual golfer hitting the ball in are probably less. Especially if its a pro golfer, you will have problems with timing and getting the other person in the shot. Are you on tape or film? Something you could try is have a leaf blower off to the side of the hole and if it looks like its not going toward the hole you could gently blow it across. **Do your shot with the steam last, a little steam wont hurt a modern video camera or film camera. Do everything else with smoke. **lots of archives as mentioned.
  11. Are you intending to do a crop of the 4X3 in post then, I think this would be more of a pain to frame up as well as the lack of resolution. Id go with the 16X9 adapter, especially for a feature. Zooms can cause strange results with the anamorphic adapter lens on so be careful. You could get a small LCD monitor that can switch to 16X9 and attach that on the camera if you were concerned. Cheers, G.
  12. Some nice shots here Nick, I thought some of the dolly shots were a little loose though, some shots seemed to bounce around a little. Were they off a dolly or a mini jib? But over all well done.
  13. I agree we do need a separate forum called "operators", theres a big hole between Assist. and DPs roles.
  14. I thought this was a good way of doing it, I just didnt want to look like a goose infront of everyone on set. I think this method would work well for wider shots on the panahead with tighter whips being done with the wheels. I have a mini worrell to practice with for 2 weeks so Ill try your suggestions. Thanks G. :)
  15. I've done some 50Fps with the Varicam and pro 35 adapter and had no issues with "seeing" the GG in the pro35, It was used at a setting of 8 on GG mirror speed and I didnt vary it when doing slow mo, although it always records at 50Fps (PAL). At slower speeds it could cause a problem, even through the viewfinder it was pulsating at the lower speeds. If your doing low light coverage be wary of the 2 stops the Pro sucks out of your lens. One reason for the comment about softness is its often used for the DOF effects of the taking lens at wide stops, so often people shoot wide open all the time, in day exteriors or lit scenes, which does tend to have a overall softer look than something at T2.8-4. If you look at my web sight and look at "The Von", it was all shot on the varicam with the P+S zeiss SS and has slowmo. MP4 so the quality isn't great but you get the idea. http://web.mac.com/cinematographer_/iWeb/G...F122EB2324.html Cheers G.
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