Daniel Stigler

Black&White stock is thinner than color stock, because it has less layers and that causes the camera to run a little noisier.

Stay calm. The Arricam mags are the easiest 35mm mags you'll find. You don't have to care about loop length or threading perforation holes. I suggest you download the manual from the Arri website and read it carefully. It's a good idea to always have something like a toothpick at armslength to set the counter on the magazine. Is it possible for you to meet with the 1st AC while he/she is prepping the camera? Or to visit a rental place and ask them if could try loading a mag?

That's right. All Arri 35mm and 16mm cameras with a "BL" in their name are selfblimped. But beware: a 16BL for example is rather loud by modern standards!

B)--> QUOTE(major B @ Apr 28 2006, 02:06 PM) <{POST_SNAPBACK}> Last year it started at 11 o clock in the evening, and went on till 2 am! He gets quite drunk - rock and roll. He wasn't able to stand straight when he stumbled on stage... :rolleyes:

I think you're slightly wrong here. To give an example: imagine doing a car commercial including dusty dirt roads and beaches in say South Africa where a lot of crane and remote head shots are done. When i put a 435 on a remote head i find plugs for the RCU connection and the power connection on the head. Set up time: 1 minute. When i want to do this with your usual HD camera, that was designed for broadcast use, i might be happy to even have a remote control unit that's of any use to me as an AC. There's a good chance i will have to install some extra cabling along the crane arm. Set up time: who knows. You see there are situations where it makes perfekt sense to build a machine "as awkward, old-fashioned and backward as a film camera". Where each HD camera loses is the combination of heat and dust. With a 435 i just pull a plastic bag over it, cut a chole in front and tape the seems of the hole to the edges of the mattebox. Absolutely safe. When trying this with an HD thingie there are two possibilities: the plastic bag melts, dust comes in and fu**s up the usually - compared to old-fashioned filmcameras - crappy mechanical parts of the cam. Or the camera just overheats and the electronics die.

The lens alone makes so much of a difference. Last year i worked on an imagefilm for a car company where we used a 435 to shoot the POV of the driver and a Sony Z1 for the POV of the car. Both cameras were linked to a Sony Watchman, flat settings. If you believe it or not, just the picture of the 435's video assist system looked way better on the Watchman than the picture from the Z1 did. The quality of the endproduct from the Z1 and the 435 (Kodak 5245, Zeiss Ultra Prime) are completely uncomparable.

Your AC will love you for this... ;)

As you wrote there was a similar topic, so i think you have read about the differences in perforation and the care that needs to be taken when processing motion picture stock. There are devices for still photographers to load 35mm film from large rolls into those little plastic things used in still cameras. You should be able to get one of those cheap on eBay. Exposure time in cinematography is referred to by the shutter angle the camera is set to. You can calculate this by multiplying 360° with the frame rate and then dividing the shutter angle by what came out of this. Example: Your frame rate are 25 fps and your shutter angle is set to 180° -> 180° : (25 x 360°) = 1/50s There are some special cameras modified to accept motion picture lenses, but i don't understand why you would need this. Divide your still camera focal length by two and you have the focal length that would by needed on a 35mm movie camera to get you the same framing. you can put some scotch tape to the viewfinder of your still camera. I hope this was understandable.

Keine Ahnung. Da hat die Verlinkung versagt. http://www.crew-united.com/ dann auf "Freelancer" drücken und so weiter und so fort...

Ask him for the phonenumbers of the DoPs he usually works with and ask them about him. If you get confirmed that he knows that the lens goes to the hole in the front and the magazine to the hole in the back of the camera go out for a beer and see if you get along on a personal level.

Have a look: http://www.crew-united.com/index.asp?show=...detail&ID=19373

I've been told my ex-girlfriend freaks out when she sees an ARRI truck passing by... :unsure:

Have a look at the Century Low Angle Prism. I haven't used it for an under water shot yet, but i think it can be properly sealed to work at a depth just under the surface. And in case the sealing wasn't that good it's cheaper than a snorkel... ;)

I learned that this is a very important quality for an actor to have. Beauty alone doesn't do the trick.

Having to shoot on video always gives me the creeps. All that videostuff is so unreliable. A few weeks ago i had a commercial shooting in South Africa that included shooting on the beach (seawater, sand, heat) and a lot of shots with the camera rigged to a car driving along a dusty dirtroad. The Arri 435 worked flawlessly, i had no trouble controlling it on the car, on the crane and the shots came out perfect. Just the Sony Watchman and the Making Off Camera died along the way. :rolleyes:

Have a look at this: http://store.yahoo.com/cinemasupplies/iring.html Looks like a good solution to the problem, but also a very pricey one.

Seems like **45 already is gone. I had two shootings this year (one in South Africa, one in Germany) where my DoP wanted to use 5245, but it was gone in both countries. I didn't quite get why Kodak gave it the boot. To me it seemed there still was a high demand for **45, especially in commercial work. Maybe i only work with the weird guys, but we exposed a LOT of 5245 last year.

I found out that there are huge differences in stockings. My DoP is very happy with vintage Dior stockings from the 50s. They are are mentioned some place else in this forum as well when i remember it right. Every now and then you can find them on eBay for a few bucks. I just bought a pair for $5.

Thanks a lot. The editing was done by Yann Kosh, the director. I'll tell him about the framerate and the establishers, but i think it looks the way it's supposed to look.

Art is entertainment. But entertainment isn't always art.

Last summer i worked as DP on a music video partly shot on S8: www.lola-angst.com Go to "videos" and choose "Am I Dead?"

Try to get whatever job you can get at a "real" shooting, to learn what's going on, who's doing what, what the terminology is and most important, if you really want to be part of this. Then talk to the people in the department you want to get in. Maybe they take you with them on the next job. Josh wrote to look for work if you have nothing to do. There will always be work to be found. But i think it's a bad idea to roll up coiled cables without checking back with the crew members responsible for those cables. Personally i don't want anybody NOT in the camera department touch a piece of my equipment without my approval.

Do as Stephen told. And make shure those 20 feet of film used for each mag never ran through a camera before. After you tested the magazine throw the piece of film used away.

Check this out: http://www.industryadvanced.com/catalog/pr...p?products_id=8 Number #1 on my wishlist... :D

Those are the jobs that always suck...