andy lee

I'm with you on this Bioskop.Inc , this is International criminal activity with no regard what so ever for EOSHD members , not to mention 3 years of lies on this forum , and suddenly everyone is friends again and all is ok . come on guys Its not OK ! wake up ! ES is a very sophisticated criminal who stole from EOSHD members and they need paying back asap. We have to wait and see if that EVER happens. Be very very cautious about anything said by ES its not all of a sudden all true.

I have monitored this every day read every post and I have left it all running while Andrew has been away filming, I think the forum handled it very well , we have all been lied to over a long period of time by the highest rated member on the forum , A crime has been comitted with a web of lies and forum member are victims of this crime. ES has no loyalty to EOSHD or its members we are all pawns to his game , he didn't care who he scammed the money from. I would ban him with out hesitation. everyone scammed MUST be refunded asap. An example must be shown we will not tolerate this on the forum we all love and contribute so much to. ES fate lies in Andrew's hands its his forum.

A crime was committed here and all the people ripped off need refunding until that is done we should not be so quick to forgive, ES has to make good on his word to pay everyone back. , as they still may not get their money back there is no guarantee of that . Andrew Reid can be the final say on ES and his fate on this site.

this is all now getting a bit bonkers mad now guys , In Britain you are innocent until proven guilty , lets not have a lynch mob please ! shall we all get back to our craft of film making and leave the people involved in this to sort it out themselves.

I think its best Andrew as the owner of this site and forum looks into this matter and let's find the facts about what has happened first. Please refrain from any negative or agressive comments , thanks Andy Lee - Mod

ps I always keep the g7 at 800 iso or under , I shot 80% of the Pandora movie at 800 iso and I went down to 640 for the rest of it , this film is mainly all shot at night there are no day scenes in the movie at all , so the G7 let me shoot in the low light 3 or 4 stops under exposed that I like to work at to get the look I use. So light your set for 800 iso , if you start going to 3200 etc and higher you will get noise ! thats life!! so use the camera in its sweet spot 800 and under .

the G7 is significantly better in low light than the GH4 it has a newer cleaner better sensor , you dont get those issues with the G7 , its very clean in low light blacks . its is noticably better .

most big Hollywood films are ADR , Fincher has been doing it for years now , as it lets the actors craft a performance for the dialogue , I do prefer it as you get a much better contralled dialogue sound in the studio , also outside in a big city its impossable to get useable production sound as you have car traffic noise , airplanes, policesirens etc etc all messing up your sound , so I prefer crafing at all in ADR and post.

Director is being bold ! and decided to ADR the entire movie - partly as the sets where built in a building under Manchester Airport flight path so Jumbo jets very five minuites made on set sound unusable !! that decission made it alot faster and easier for me as DOP !!

Ive been doing alot of tests with the G7s on my custom made shoulder rigs and Im not having issues with the rolling shutter . with regard to Pandora movie I did alot of tests to show the Director Arri Alexa v Red Epic v Panasonic G7 internal recording v Panasonic G7 and Atomos recorded . and he liked the look of the internal recording on the G7 with Metabones XL speedboosters and Nikon lenses , its very very sharp clean image and he decided to do the whole movie with it , the image is superb and grades very well , using 6 x G7s was the best option for us time wise as I wanted to shoot multicam.

every set up is different as you have to go by what the script requires , sometimes its complex moves and focus pulls, some times its just needs 2 camera and is easy !!

We gained from a narative point of view as the actors perfered this way of working doing longer takes and complex moves with marks all over the set floor became the norm, we did this alot and the movie gained from that freedom , I always opperated the A camera on every take so that handled all the complex moves and focus pulls , yeah Panasonic bullet time here we come !! the Director wanted David Fincher/Nicolas Winding Refn style of shooting so alot shot on legs careful framing , using symmetery where we could find it , and slow dolly moves , the camera only moves when it needs to ,no sudden movemets or randon pans, there are only about 6 or 7 hand held shot in the whole movie , the Director is not a fan of hand held Paul Greengass wobblecam , I do like the hand held look alot and my next film is a Bourne /Bond syle classic British spy film and Im shooting this movie mainly all hand held as it add a dynamic realismto that style of movie.....I'm just starting pre production and tests shoots for this film now. here are 2 test shots from last week I did for the Spy film with one of the actresses Joanna Bright, Panasonic G7 and Nikon 28-70mm with Metabones XL Speedbooster. Arri 300s and 150s gelled and diffused.

Multi Cam is great for dialogue scenes as you can shoot over the shoulders in both directions at the same time and sneek in a 2 shot wide side on plus ECU head shots in both directions at the same time too ! 5 cameras for all that and the actors love it as they can play the whole scene in one pass and its all 'real' the performance can be cut for one actual take so it all edits together perfectly , yes you have to light for it and set up the shots but I do highly recomend it ! its so much faster then with one camera . I started shooting multi cam on my pop videos after I stopped shooting on film as its so much more useful to get all that coverage faster, so its not something new to me and when the Director of Pandora embrased this way for filming for this movie it was great to be let free to hunt down cool shots with all the extras cameras I had to use. here you can see a shot from the movie and below it a BTS photo of the set up and how I lit it and shot it multi cam , I used 5 cameras on this sofa scene shooting both sides at the same time. cu head shots, 2 shots and wides all at once - saved loads of time !!

Lighting for 3 cameras something I did alot on this movie, you just have to think ahead so one angle doesn't take a 'bath' with the lighting, I would often use a Arri 150 as a shadow killer on the C camera angle , so as long as camera A and B are good with camera C I will shoe horn in to get a usable angle, 'coverage' is the word thrown around alot by Directors these days , lots of DOPs say you can only light for 1 camera and thats the traditional way , well its not true you can light for multi cam If you think it through carefully it does work , 6 cameras is possible I did that quite a bit stacking them in pairs a close together like 40mm and 75mm with the 75 slightly higher for a close up head shot , if you have enough light and big enough set you can do , I designed the set with the director so I could put the windows and the practical lights exactly were I wanted them , this helped alot . see pics below of some typical multi cam set ups on the movie

thats why I got hired for the movie!! I come from a pop video background for 20 years ,I always shoot with gels on my lights , the Director wanted a very modern bold stylised use of colour , he came to me to design the whole look and style of the movie , so I have used different colors and contrasts of colours through out each section of the movie so each scene has a look to it , It was a very small crew I was DOP and Gaffer ,so I lit the entiremovie myself as well as shooting it .I have big lighting package I brought to the movie of 25 Arri Fresnels , (1k pups , 650s , 300s 150s etc) and kinoflo tube lights yes I do use Lee gels all sorts of colours plus I shoot alot at 4000k for interiors the Panny looks better at 4000k than 3200k , just that bit warmer , I shoot day exteriors at 6500k and all my night exteriors at 2500k , yes I do try and use contempory colours there is modern colour palatte in the industry I have embraced alot , this movie has no day exteriors in the whole script , all the exteriors are night time so I got to play with the colours alot which was fun gelling all the Arri HMIs at night I used alot of Peacock Blue and 1/4 blue. Lighting is a totally subjective subject , I like to treat it as a completely creative tool to help tell the story and a contast in light and dark is also complemented by a contrast of colour in the lighting , why limit your self to what I call boring plain 'white light' , you dont have to just use your lamps as is , gel them with colour and diffusion , most of my Fresnels have F1 diffusion on them all the time , (I rarely use undiffused lamps) ...along with a gel , if you want to play around with this then just get some full CTO and Full CTB gels and start with that , the possibilities are endless!! get creative......

Time ! thats why , shooting multi cam saves time and money and lets you get alot more setups done per day , I had 6 x G7's rigged up on Gini Rigs that I custom made , I had 2 rigs with Nikon 80-200mm lenses, 2 with Nikon 28-70mm lenses and one with a Nikon 20-35mm lens the sixth G7 was used on steady rigs and dolly tracks and sliders with various different lenses , all cameras had Metabones XL speedboosters on them to give me a Super 35mm field of view on the lenses , most set ups I would run 3 cameras , a close up, a mid and a wide , the actors loved it as we could do long takes 3 min passes at times and pick off head shots, mids and wides all in one performance . Some set ups I did run 6 cameras at once as we had some complex special FX shots with prosthetic heads and blood and gore etc . Multi cam is the way to go , we shot the movie in 44 days , and if we had done it traditionally with just 1 camera it would have taken maybe 60 days plus . So multi cam saved us alot of time and money , the Panasonic G7s all performened amazing no issues at all and we shot 12 hr days every day , the rigs and camera and lenses got Battle Tested to the limit and all worked beyond my expectations , The G7 is an amazing camera its very very good in low light much better than the GH4 as it has a newer better sensor , I could not have shot this movie without the G7 it let me shoot 3 or 4 stops under for most of the movie , I like that low light Gordon Willis - "Prince of Darkness" look so the G7 let me push that to the limit with no noise and fizz at all in the blacks , its very very good!!

no you cant do both at once , its either or !! I have brought this up at meetings with Panasonic as we all would like this feature , the G7 will not do this, I just shot a feature film with 6 x Panasonic G7 cameras , its a great camera !

some more pics of Metabones XL speedbooster on Panasonic G7s on the set of the Movie Pandora I'm DOP on . Rigs are by Gini Rigs , Lenses are all Nikon 2.8 zooms note calbe ties holding lenses front onto lens supprt so follow focus can work without any lens movement . Metabones are very snug tight fitting to G7 and Nikons lenses os no twist movement off follow focus at all . Follow focus is Gini Rigs filpped upside down to solve Nikon reverse focus issue ...this work really well !! ps: this is a set.... thats not sunlight its a whole bunch of Arri 1K Pups behind the windows .

not tied any of them - but I should do as the sigma 30mm f1.4 is very good - I do use it alot of night time exteriors shoots - alot of the night stuff on Pandora Movie was the Sigma - its is very very good on a Metabones XL speedbooster in EF mount - micro 4/3

I've been committed to Panasonic for 5 years now that's all I ever use . For my work the Panasonic G7 is an amazing camera , it does all I need and it is superb in low light for the style of cinematography I shoot , I'm regularly three or four stop under exposed , I shot a lot of contrast in light and in colours in the way I light the sets and the G7 handles that superbly it is in my opinion very very good detail in the black areas. No fizz and noise at all the image it produces is very clean . Pandora movie is nealy finished now we are 39 days into the shoot , once this is completed I move straight onto another movie - a classic British Spy movie that I'm directing and DOP on pre production starts on that next month....so I am shooting this movie all on Panasonic too......watch this space ...

Pansonic have just made me one of their Ambassadors this week ! I am working very closely with them now .

the Nikon AIS 28MM f2.8 is one of the best 28mms ever made optically no distortion edge to edge - it is Nikons finest hour! not much comes even close to it - plus long throw for follow focus ,these Nikon AIS lenses (the glass out of them )were used as the base spherical elements in Panavision E series Anamorphics - they are that good!! ps - if you are shooting micro 4/3s just stick your 28mm on a Metabones speedbooster that gives you x0.7 on the back of the lens - saves adding a front wide adaptor which are optically inferior also consider the killer SIGMA 30MM F1.4 - its APSC only so wont work on a FF camera but is stellar on APSC and Micro 4/3 I use it on a Metabones XL alot

Tiffen 4X4 Nds I stack NDs when outside to keep an f2.8 of f2 stop all the way so buy ND 2,4,8,16 those four cover it all !

yes I mentioned that in a post a few months back - you can turn the head upside down on the Gini Rigs follow focus and that corrects the Nikon reverse focus issue its very easy to do and I have shot an entire feature film like thta on all my 6 rigs The Film City matte box works well with the Nikons I use them on the Nikon 28-70mm it has 4x4 filter trays I always used Tiffen NDs I have 4 Nikon Metabones XL and 4 active Canon EF Metabones XLs that I used on the movie you can buy the Gini Rigs Follow focus here this is the exact ones I am using : https://www.ginirigs.net/product/ifocus-follow-focus/

No just use reusable cable ties , they undo and then reconnect , you don't need to cut them off ever