Daniel Stigler

I have to add something: you first have to check if the Eprom/TSB works in combination with the capping shutter/time lapse system you plan to use.

It will be a little easier to use a 435Xtreme with an Arri TSB (Timing Shift Box). Messing up the shutter is what they are intended to do, without that there's no streaking effect. The most prominent use of that effect (without the time lapse) can be seen at the beginning of Private Ryan. I don't think the effect differs much between shooting time lapse or standard 24fps as long as your exposure time isn't something very special. With a device like this it's imperative to shoot tests.

I worked with Denz and CEI video assists on SRs. The Denz delivered a far better picture. And Denz is also closer to France in case something should go wrong.

As i'm doing mostly MOS commercials these days my favorite is the ARRI 435 Xtreme. If she's not in the budget i go for the 435ES.

You're right Mitch, it was the LT version. It was a real pain in the ass to take this thing on and off the tripod or carry it around.

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Today was day #1 of a two day musicvideo shoot we are doing with the Movie Tube with a Z1. It does the job, but it has some flaws. The camera can't be fixed properly on the adapter. This is problematic as the adapter itself has no handgrip and using the cameras grip can easily cause flange focal depth to shift. And the lens mount is poorly engineered.

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I once did. Image steadiness was rocksolid. But you have to be careful. These are old cameras. The BL2 was built from 1975 to 1980, so the one you're shooting with will at least be 26 years old. No problem, if it was maintained well during these years. Do you have a chance to do a steadytest before shooting?

You're right Brad, the Preston doesn't work with Hedens. Sorry, i was a little tired when i wrote my post. The Bartech did the job, there weren't any problems. I just didn't like the feel, which besides reliability and precision is an important factor for me concerning remote focus units. Are you sure the operator you're mentioning was talking about the Aladin? I think it was introduced in spring 2003 and shipping started much later. Could it be they had some kind of beta version to test? This could be a reason for going through eight units. After two units giving up i surely would get another system.

Panther Rental in Munich have a set of S3s converted to PL up for sale as well as some single unconverted S3s. http://www.panther.tv/en_usedequipment.html

I once suffered from heavy skin irritation caused by gaffer tape. On the last shooting day before the weekend the camera departement had a little bit too many wrap beers and we put fake beards made of gaffers tape on our faces. I left it on over night... I never thought about dangers of chemicals in the industry but i invested in a good safety harness, dust goggles and stuff like that which i made good use of so far.

I have worked with the Bartech only once. When i remember it correctly it was in combination with Heden motors. I didn't like the shape of the housing and the whole unit felt a bit flimsy. It did the job, it just didn't feel right. A horror combination for me is the Preston with Heden motors. Heavy, big, uncomfortable to hold, big receiver/motor controller, slow. My current favorites are the C-Motion and the new Chrosziel Aladin with digital Scorpio motors.

Get a good pair of shoes. On the job i prefer GoreTex lined, watertight hikingboots. Like heel_e wrote, get a multitool, a flashlight (if you can afford it get the best available, everything low quality won't survive the first week of shooting and cause more trouble than it helps) and always carry some pens and magic markers. Ask the 1st AC if you could take part in the camera prep. It's usually a good way to get accustomed to each other and you'll get an idea what's in the camera package and how it's handeled. Ask for a copy of the gearlist and find out on the net what all that stuff is. Keep your spirits up if you get the feeling you are ignored. It can happen every now and then when the heat is on. If you're not sure what you're doing, ask first. If no one's there to ask, find something to do you're sure about. Good luck!!

I once worked with it. It is a very special machine that i wouldn't use as A-Camera on any shoot, but it is perfect for things like bicyclemounts in odd angles or for example rigging it under a car because it really is very small.

I try to "disguise" those big shifts when possible. For example: i had a scene where the camera was on one end of a hallway pointing at the door at the other end. An actor came through the door, walked through the hallway and passed the camera with the door to be seen for a few moments before the cut. When the actor was on his last step before leaving the picture and his belly was filling the frame i shifted focus on the door, so it was in focus the moment the actor was out of the frame.

Since the director's viewfinder thread got a little off topic, i'd like to start a new thread on focuspulling. Focus is a powerful tool in imaging that hasn't been discussed much here. What are your favorite moviescenes in relation to focus choreographie? I try to avoid wild focus shifts that distract the viewer and interrupt the flow of the scene. Unless of course it makes sense and/or my DoP asks me to do so.

Avoid the Preston! It is slow and has a lot of delay. My current favorit is the new Chrosziel Aladin with digital Scorpio Motors.

Yes, with a steadycam or with remoteheads or situations like that. I mean the camera prep at the rental place. Marking up discs in the field is a pain in the ass, so i always do that before we start shooting. Lately i followed the current trend to use a wireless remote focus a lot and there rarely is a shooting day where i can't make good use of it.

Well, i mark the discs on wireless focus units at prep so i just have to slap them on when i change the lens during shooting. With a normal follow focus it doesn't help me because i prefer to read the markings on the lens and occasionally put a mark or two on the plastic disc. It's the way that's works best for me. I hope we're not getting into an argument here.

I meant i don't double the focus marks on the lens to those white discs on the follow focus. I leave them blank. Sorry, i didn't find a link to the Pentafinder, but have a look at http://www.gecko-cam.com/html/Hauptseite%20deutsch.htm In the left upper corner you can see their viewfinder which looks like an exact copy of the Penta. With a difference in color. The Penta is red anodized.

I wouldn't say using the camera to find the right lens was easier than using a viewfinder. No way. But changing lenses on a camera, at least for me, is a lot easier than changing lenses on a finder. I use swing away matteboxes whenever possible and i use blank focus rings; so no hassle there. And i can change a lens on the camera with one hand when shooting with Ultra Primes (this doesn't work with Hawks or Master Primes). A Pentafinder for example and a lens are much harder to put together. And the Pentafinder also has this annoying vacuum effect that makes getting the lens off a lot harder than getting it off a camera.

Personally i hate those viewfinders. It's a pain in the ass to cange lenses on them. Unfortunately both DoPs i work with on a regular basis love them... <_<

Hi David! I'd like to see this. Did the scene appear in the movie? Can i get it on DVD?

As a producer you need to own office equipment like computers, a fax machine, a printer and a telephone. That's the stuff you will be using daily. For every shooting you will do different equipment kits will be needed and all of this can be rented.