andy lee

Ebrahim Saadawi lets get this repayment made to James asap

James messaged me this morning he is very concerned as he has not heard anything from you at all please email him direct and resolve this asap ES. I will see what has happened to the message system now the restriction has been applied . Tomas messaged me yesterday there is an issue with the rangefinder you posted him , it is a beta tester prototype sent to you for free and it has a non standard thread on the back ,Tomas needs you to contact him about this . Everyone else please do not post on this thread it is for communication only . - Thanks Andy Lee

well I went to see Bourne last weekend and the cuts are so fast and the camera is moving so much that you have no idea what camera is what on the big screen , there are no shots that jump out as being bad or not fitting with the previous Alexa footage , it works they did a good job , now on most major films they are using what ever camera suits each shot / set up...... Bond Spectre was the same Film and Digital combined and multiple camera and formats Anamorphic , Spherical Alexa 65 and 35 all made it into Spectre

Act of Valor also used the Canon 7D alot as they had Panavision lens of that body as Panavision lens wont work on 5D full frame cameras , The 7D APSC had the front mount modified by Hot Rod Cameras

I went to see the film last weekend, as I'm a BIG BOURNE fan I was very pleased with it , nice to see they are still using the TLS Nikon 80-200 that I keep banging on about - Nikons finest hour! their best lens . Barry Ackroyd (one of my Favourite DPs and President of the BSC) takes over from DP Oliver Wood who shot the first 3 Bourne fims , Barry keeps the same style , all hand held Greengrass wobblecam ! the Athens sequence is intense!! this months American Cinematographer magazine explains it all in great detail -Barry Ackroyd tells how it was made with Igor Meglic second unit DP. quote: Second-unit cinematographer Igor Meglic, ZFS — whose history with Ackroyd began on the 2012 crime thriller Contraband — added other cameras beyond the Alexa. “The reason I usually have to go to different cameras is because we either need a lot of them or they’re in harm’s way,” says Meglic. “Once you start to bring in six or eight additional cameras, it’s a cost thing.” Red Epic Dragon units were used mainly for plate photography in vehicles, with Canon’s Cinema EOS C500 used for other vehicle and handheld work. For applications requiring an ultralightweight camera, such as helmet mounting, Meglic opted for Blackmagic Design’s Pocket Cinema Camera fitted with Kowa 8.5mm glass. “It’s a pretty amazing little camera,” he notes. “Weightwise, it was little more than an iPhone!” The 2nd unit often recorded internally — particularly in the case of the XT and Dragon — while external Codex recorders were sometimes used for the Dragon, C500 and Pocket Cinema Camera. “When needed, we did it both ways,” says Meglic. “We did vibration tests, [and] I was a little nervous, but it turned out we never had a problem.” Vegas car chase, up to 28 camera bodies were available for use — although that many never rolled simultaneously — predominantly fitted with the same kind of lenses used by the main unit. Meglic notes, “A couple of times [during the London portion of the shoot] we did ask if we could borrow a lens or two, and they were always very nice about that!” Given the chosen style, it’s perhaps no surprise that Ackroyd describes himself as “a zoom person.” He singles out the “beautiful” Angenieux Optimo 24-290mm (T2.8) zoom, noting, “It’s like my eye, my brain. When something takes your interest from across the street, you don’t see it in the same way as when you’re close to something. You can exclude things and concentrate.” The extensive lens package also included Angenieux’s Optimo 15-40mm (T2.6) zoom; Fujinon’s 19-90mm (T2.9) Cabrio zoom; True Lens Services’ 80- 200mm (T2.8) Morpheus, a rehoused Nikon stills zoom; and Panavision’s Primo 135-420mm (T2.8) zoom. The 35mm-format prime-lens package comprised Arri/Zeiss Ultra Primes ranging from 20mm up to 180mm (all T1.9) as well as Zeiss Super Speeds from 18mm up to 85mm (all T1.3). The production’s Super 16mm cameras were paired with Canon 8-64mm (T2.4) and 11-165mm (T2.5) zooms. Any concerns about matching the various cameras and lenses were subordinate to ease of handling, Ackroyd says. “I’ve never been one to get too hung up on the technical side of what the lens may or may not do. Of course, if you were making a movie that was highly glossy and intentionally stylized, you’d have to pay more attention to that.” looks like they used Canons on Vehicles and BMs so its going to be hard to tell which is which ...

Libec tripods

Im going to throw Panasonic into the equation, I just shot a Feature film with 6 Panasonic G7 cameras with Nikon Glass and Metabones XL speedboosters and Gini Rigs cages G7 in 4k is an amazing camera I tested it at length against a RED Epic and Arri Alexa and we all prefered the image fom the Panasonic especialy in low light it out performed the Epic , so much cleaner image off the Panasonic no noise or fizz in the blacks like the Epic had. I shot the movie with these lenses Nikon 80-200 f2.8 'Bourne Lens' Nikon 28-70mm f2.8 'Bourne Lens' Nikon 20-35mm f2.8 all on Metabones speedbooster XLs to give a Super 35mm field of view on the G7 it also made the f1.7 contant apperture zoom . The Nikon Glass with the Metabones XL gives a look very similar to Zeiss Master Prime lnes its that sharp and good. with those 3 lenses you can shoot your entire movie see pic

I have posted this the other day but its relevent here on this thread and some of you may have missed it so here it is again: I use Fresnels most of the time Arri originals and recently I bought a whole bunch of Chinese Arri copy fresnels off ebay for the feature film I just did , I needed to light 3 sets simultaniously and leave the lighting up for weeks at a time (I had 25 fresnels up at once on 3 sets) ,I like Fresnels as you can use them as a hard light or add some f1 Diffussion and use them as a soft light, you cant do that with Kino Flos they are soft all the time , so for me Fresnels are the way I light most of the time , the exception is lighting Women .. where a soft light is more beautiful , so sometimes if I need a very soft look , I use Kinos then or LED tube lights I have made - basically LED Kinos not tube Kinos , The Chinese Fresnels are just as good as the real Arri ones I was amazed , once you have a good globe/bulb in them like Osram - there is nothing in it , I bought 150s 300s 650s and 1K Pups and they are all superb , they worked 40 days for 12 hrs a day no issues . so check these out they are great http://www.ebay.co.uk/itm/Fresnel-Tungsten-Spotlight-150W-Lighting-Studio-camera-Video-/331687239451?hash=item4d3a199f1b:g:x8AAAOSw-zxWoXQS http://www.ebay.co.uk/itm/Pro-1000W-Movie-Fresnel-Tungsten-SpotLight-Studio-Camera-Video-/252322910892?hash=item3abf9e12ac:g:lP8AAOSwAuNW6hii http://www.ebay.co.uk/itm/On-Sales-UK-Fresnel-Tungsten-Spotlight-300W-Lighting-Studio-camera-Video-/252134887278?hash=item3ab4690f6e:g:0k0AAOSwqYBWp0Dk http://www.ebay.co.uk/itm/Pro-Studio-650W-Tungsten-Spot-light-Dimmer-globe-Compatible-arri-bulb-/231722293457?hash=item35f3b998d1:g:0nUAAOSwKtlWp0A4 they are all amazing prices , I do recomend these lamps . 300w Fresnels in action on the movie Pandora with diffusion and gels on the front - standard stuff for me

I use Fresnels most of the time Arri originals and recently I bought a whole bunch of Chinese Arri copy fresnels off ebay for the feature film I just did , I needed to light 3 sets simultaniously and leave the lighting up for weeks at a time (I had 25 fresnels up at once on 3 sets) ,I like Fresnels as you can use them as a hard light or add some f1 Diffussion and use them as a soft light, you cant do that with Kino Flos they are soft all the time , so for me Fresnels are the way I light most of the time , the exception is lighting Women .. where a soft light is more beautiful , so sometimes if I need a very soft look , I use Kinos then or LED tube lights I have made - basically LED Kinos not tube Kinos , The Chinese Fresnels are just as good as the real Arri ones I was amazed , once you have a good globe/bulb in them like Osram - there is nothing in it , I bought 150s 300s 650s and 1K Pups and they are all superb , they worked 40 days for 12 hrs a day no issues . so check these out they are great http://www.ebay.co.uk/itm/Fresnel-Tungsten-Spotlight-150W-Lighting-Studio-camera-Video-/331687239451?hash=item4d3a199f1b:g:x8AAAOSw-zxWoXQS http://www.ebay.co.uk/itm/Pro-1000W-Movie-Fresnel-Tungsten-SpotLight-Studio-Camera-Video-/252322910892?hash=item3abf9e12ac:g:lP8AAOSwAuNW6hii http://www.ebay.co.uk/itm/On-Sales-UK-Fresnel-Tungsten-Spotlight-300W-Lighting-Studio-camera-Video-/252134887278?hash=item3ab4690f6e:g:0k0AAOSwqYBWp0Dk http://www.ebay.co.uk/itm/Pro-Studio-650W-Tungsten-Spot-light-Dimmer-globe-Compatible-arri-bulb-/231722293457?hash=item35f3b998d1:g:0nUAAOSwKtlWp0A4 they are all amazing prices , I do recomend these lamps . 300w Fresnels in action on the movie Pandora with diffusion and gels on the front - standard stuff for me

Ex. Tele Conv does not work in 4k mode only 1080p mode , all my g7s are set on muli metering ,it works for me , try all 3 and see what you prefer .

I just made 5 kino Flo type tube lights but with LED tubes in they they work great , LEDS are very good now and affordable

The 3 EOSHD Moderators jgharding, jonpais and myself jointly in unison have given Ebrahim Saadawi 2 warning points for fraudulently scamming 3 EOSHD members and making bogus/false posts on the forum He is now restricted to only reading threads and making personal messges to the 3 EOSHD members he fraudulenty scammed. He must fully repay them asap. This thread is now Locked.

All my wide moving shots on the Pandora movie I just shot I did with the Panasonic 14mm at f2.5 or the Olympus 17mm at 2.8 I don't do moving shots on longer lenses as the focus can be a nightmare All those steady cam shots on Birdman were done on 14mm and 18mm lenses

because I like the look the image produces at the settings I use , It works for me and my work flow , I never resharpen an image in post , never ever ! get it right in camera . use aspheric lenses on a speedbooster the image is superb

for the record I have just deleted all Ebrahim Saadawi's posts on other threads this week he is not to post on any other thread , his priority now is to repay James full asap . Lets stick to that and get it done asap please Ebrahim Saadawi.

MODERATOR INTERVENTION FOR Ebrahim Saadawi Ebrahim Saadawi please stop posting in any other thread apart from this one , it was left open for you to communicate with the three people you scammed and to make sure you refuned them all in full asap - you have disgraced this forum we all contribute to and love so much. YOU ARE NOT AT LIBERTY TO SUDDENLY START COMMENTING ON ANY OTHER POST OFFERING YOUR TECHNICAL ADVISE - STOP IT NOW - MODERATOR JONPAIS AND MYSELF ARE BOTH UNITED ON THIS DECISSION. No more tec posting on this forum Ebrahim Saadawi.

use the 25 and 28 for your wides 35 for the mids and 70 for the close ups and if you need to go really wide use the olympus lighting is subjective and as im not there to see how you do it I cant really help much , use your eye , dont get bogged down with meters , look at the screen , if it looks good...it is good !! one thing i do alot is take frame grabs from films Ilike on my tab and look at them on set to match the lighting to the frame I like from a movie

0-255 all my cameras are set to this I would use both the G7 and GH4 and shoot 2 cameras all the time shoot a mid at 35mm and a tight head shot at 70mm at the same time .

I personally would use the G7 as my main A camera and the GH4 as B camera , the g7 does have the better newer cleaner sensor . I would shoot it all in 4K UHD 24 fps mp4 (internal codec is very good in 4K mode ) Natural profile saturation -5 contrast -5 dont go over 800 iso light your sets for about f2.8 or f2 max G7 focus assis is great it has 2 settings I use H I would use your Zeiss primes as they are superb lenses same glass as Zeiss Ultra Speed cinema lenses - no differance yes use the internal camera audio as I guide track and ADR it all in post All the above is how I shot the feature film Pandora

any EOSHD members who want to buy this will be helping to resolve this situation

thank you for keeping us posted on this news Tomas , let us know when it arrives and it is in full working order . Now we have to make sure James is also refunded by Ebrahim Saadawi. James has agreed a time frame for this repayment with Ebrahim Saadawi , please stick to this time frame .

MODERATOR INTERVENTION: Moderator Jonpais and myself as fellow Moderator have been talking and we are going to keep this thread open for now BUT THESE ARE THE CONDITIONS : the thread stays open for the four people involved in this crime to communicate, it stays open to keep Ebrahim Sadaawi honest and full fill his promise to refund everyone involved ......eveyone one else back off and let them resolve this issue . NO MORE POSTS on this thread from now on or we will delete them if you are not involued in this situation. Ebrahim Sadaawi you keep in contact with Tim , Thomas and James who you have stolen money from , you stick to the plan to refund them , you keep in regular contact with them and let them know exactly what is happening no excuses and no stalling . Tim, Thomas and James you keep in regular contact with Ebrahim Sadaawi and you can use this thread to keep us all informed how it is progressing . If Ebrahim Sadaawi goes back on his word and starts stalling post on here and keep us informed what is going on . Everyone else does not post anymore on this thread, yes that means you !! no more lynch mob and wolfpack tactics . lets get our fellow EOSHD members refunded - that is the priority now. let Ebrahim Sadaawi repay Tim, Thomas and James . If Ebrahim Sadaawi does not keep his promise to refund all three people he scammed , Andrew Reid will be taking this futher with the authorities - this is his forum. EOSHD MODERATORS

Im using Gini rigs cages and follow focus www,ginirigs.net , have a look they make superb parts you can custom make your rig from

Just read all todays madness Time out Please! ES needs to refund the 3 people involved in this matter , it's between him and them . Andrew is away filming and I don't think he will want an internet intervention lynching branded by EOSHD members when he has said if this is not resolved he will get the authorities involved. ES contact the three people involved , keep in regular contact with them and get on with the plan for refunding them in full with a realistic time frame they are happy with and stick to it. or you will be dealing with Andrew Reid direct.

It's Andrew Reids forum the ban is his decission , I have read every post since this all started days ago , and kept it all open . the thread should stay open and not be deleted as a lesson for all on this forum , not everyone is your 'friend' and not everyone tells the truth all the time , NEVER use Western Union ...EVER! First of all ES needs to pay EVERYONE back .