Glenn Hanns

In Australia its $5,000 AUD a day, no lenses just camera/SRW-1 back, batts etc. Cheers.

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.

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.

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.

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.

Thanks, amazing what you get straight out of the box with handcrank.

All hand cranked, each shot/setup is straight from the camera no effects added. Cheers

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

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.

** 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.

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.

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.

I agree we do need a separate forum called "operators", theres a big hole between Assist. and DPs roles.

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. :)

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.

Hey Big All, Strange that ARRI oz actually have this system listed in their rental catalogue???? Hows things? Havent used one, but im sure once you guys find yours I will. LOL Cheers G

Hi, Ive got a shoot coming up as operator on a G2 with morphs that requires allot of whip pans on a geared head. Now, I can use a geared head well enough but do you think it would be easier to switch to fluid for the pans or is there some technique to be able to do successful whip pans on a Panahead without having to switch back and forth. Id like to get my time up on a geared head so Id prefer to stick with it. Cheers, G.

Also, on a recent 3 perf super 35 shoot I did we had to allow for the Arricam to be switched to 3 perf. This process takes a few hours and should be checked before you start shooting. As far as quality goes I think 3 perf Super 35mm allows for an image as good or even better than anamorphic capture because the quality of the new spherical lenses are far superior than the anamorphic equivalents and you save 25% of your camera film stock.

Heres some stills from the shoot, ill get some footage soon after the 2K divinci grade. The drill is attached to a cog that has a rubber belt to the main mechanism that the motor was connected to. Cheers G.

Im a big fan of the Ultraprimes as well, as an Arri/Ziess hybrid they have virtually no flare no matter what I point them at, and the LDS is such an advantage over the Cookes. The Bokeh are nice rounded circles with no triangular shape like the super speeds but they do tend to be contrasty and dont fall as quickly in focus like the cookes. I havent used the MP yet but I hear there much the same just with a little more in aperture. Does anyone have a MP / UP comparison? Cheers G

The other option, if you want to preserve the full benefits of shooting on film, is to do a neg select grade and THEN go to tape. That way you can grade uncompressed and with everything the film offers, latitude and colour etc before compressing. We just negotiated a film that took both options into account and it actually worked out cheaper because tape stock for HDCAM SR was so expensive. Cheers G

Hi Stephen, Is it constant flickering / down one side of the film? Can you give us some more details? Cheers G

Hi, Just did some shooting with an Arri 3 that had its motor removed and modified for hand cranking like the look in "man on fire". Unfortunately the gear ratio used made turning the handle fast enoungh to reach 25fps near impossible so I ended up using an electric drill attatched to the drive shaft and by altering the speeds forward and reverse I was able to get some amazing footage of our hero bashing up a victum who was tied to a chair. When I get the DI done ill get some QT clips to show. Cheers G.

Hey Graeme, Why not try using an old fashioned mirror and bouncing this into some 216/251 4X4 frame for a soft, managable and "non HMI' look. Ive done this so many times and it always works a treat. Cheers G.

Sorry, by 'surprises' I ment punches that go astray and take someone down for real. Another concern was that the other actor is 55 years old, so if he happen to be struck by the other 25 y/o actor we would have someone seriously injured. We shot yesterday with the actors and something that stitched us up was the wide shot of one of the sequences. We did 7 takes of a 30-40 second sequence as a master shot and found that only 1 or 2 "hits" looked convincing. We then got closer coverage which worked a treat and only needed 2 takes to sell the punches. Heres a couple of digital stills during blocking. Cheers G.