Secrets of the Pros

Here’s the first issue of our secrets-of-the-pros, nuts and bolts, how-to newsletter ontechniques and tools, style and strategies,tips and trends for Cinematographers,Photographers, Videographers, Directors,Producers, Camera Assistants, CameraOperators, Grips, Gaffers, Crews, RentalHouses, Manufacturers and Students.

Stay on Top of the Biz

Inside-the-industry information forprofessionals from professionals, writtenby writers who shoot, direct, light, design,build, edit and work in the business.

We’ll talk about products andprocedures in practicalproduction—here’s the jobat hand: how do we use

these tools and techniquesto get the results we

want? How do we getan image, does it lookgood, what helps usget there, how does

it work, and how didthey do that?

Coming to you every twomonths, you can stay on top of the business and on top of new ideas. We’llpublish on paper sincemost stages and locationslack hotspots likeStarbucks.

Fauer Books Episodically

Jon Fauer, ASC isan award-winningDirector ofPhotography andDirector who haswritten 10 best-selling books,famous for theiruser-friendly wayof explaining

things as if you’re right there on locationwith him. Over 120,000 of his books oncameras, cinematography, film and digitalvideo have been printed.

Think of this bimonthly newsletter asFauer’s 11th book—arriving a year early,with up-to-the minute informationbrought to you in episodic format.

www.fdtimes.com

For less than the price of just one of JonFauer’s books, you’ll get an entire year ofadvice—on production, film, video, anddigital news before it hits the street.Inventions, new equipment, tools, newtechniques, ideas, new concepts, newcreative—delivered to you by subscription6 times a year.

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Be sure to visit our companion website forupdates, hot news, samples and examples,notes, archives and letters to the editor.(www.fdtimes.com)

New Cameras and Water WorkPREMIERE ISSUE

The how-to newsletter of high-end technique and technology in film, video and digital production

MAY / JUNE 2005 ISSUE 1Jon Fauer’s

What’s Inside?About this New Newsletter . . . . . . . . . . . . . . . . 2

Lighting with Paint . . . . . . . . . . . . . . . . . . . . . . . 3

Camera Reports . . . . . . . . . . . . . . . . . . . . . . . 3,14

How to Shoot Steadily at Sea . . . . . . . . . . . . . 4-5

Arriflex 235

Sony HDR-FX1 HDV

Panasonic DVX-100a

Canon XL-2

Kodak Look Manager System (KLMS) . . . . . . . . . 6

Intro to the New Arriflex 235 . . . . . . . . . . . . . . . 7

Arriflex 235 quick review . . . . . . . . . . . . . 8-11

Arriflex 235 Parts, Camera Comparisons . . . 12

235 Setup; Loading Mags . . . . . . . . . . . . . . 13

JDC 235 Splash Bag . . . . . . . . . . . . . . . . . . . . . 13

Opening Credits: Howard Preston . . . . . . . . . . . 13

Hylén System from Panavision . . . . . . . . . . . . . 14

Camera History: Sept 1922 . . . . . . . . . . . . . . . . 15

Lighting with Paint 3 Shooting on the Water 4 New SONY HDR-FX1 5 Kodak KLMS 6 Arriflex 235 Intro 7

MAY/JUNE 20052

Trying to come up with an appropriateand catchy name was the hardest task ofall. Something with “cinematography,” but“videography” hit a subconscious synapseand didn’t sound right.

Anyway, the newsletter would be muchmore—discussing not only cameras, butlighting, dollies, cranes, remote heads,grip equipment, software, hardware,computers, storyboard programs, and all kinds of interesting things.

Coin a new term: “Tography,”“Fidgets,”“FiDigits,”“FilDigs”“DigFilm” or“Dimaging?”“Nuts and Bolts” was acontender for a while, until I rememberedintroductory psychology at Dartmouth,affectionately known as “Nuts and Sluts.”

So, we’re bouncing around the middle ofBiscayne Bay last December. James Kilby,many of whose still photos appear in thisissue, suddenly says, totally out ofcontext, “Film and Digital Times.”

He gets a freesubscriptionfor thatexcellent name,with its nod toVolker Bahnemann’soriginal headline “TheDigital Age of Film.” That conceptfeatured prominently in our lastadventure: The ARRICAM BOOK andDVD. (Both are available fromwww.theasc.com).

What’s with the name?

Leading Luminaries

The idea for this adventure is hatched onecold week last November in New York.The industry’s leading luminaries aregathered to share information about thelatest tools and technological advances infilm, digital acquisition and post. Themeeting quickly devolves into a debate onhow best to keep current with all the latestknowledge. It becomes startlingly clearthat there really isn’t a good, reliable oreasy way to stay current. A prominentprofessor criticizes current channels ofcommunication: magazines don’t havehow-to advice, the web is often full offlagrant promotion or unvetted sources,and Jon Fauer’s books take too long tocome out. I sputter some random excuses.

Cut to day two. Saul Molina at the ASCcalls to ask when I plan to finish theARRICAM BOOK 2nd Edition becauseorders are coming in, and the first editionis sold out. “But I’m only a year late, whatwith all the latest changes and newinformation,” I say.

Day three. Charlie Tammaro calls fromCSC. The first three production Arriflex235 have landed. Email floods in thatevening: Where’s the ARRI 235 BOOK?Good question. It isn’t even the hint of aconcept, or the whisp of a wish.

Day four. Meeting with DavidDellenbaugh. He publishes my favoritenewsletter, Speed and Smarts, onadvanced sailboat racing and tactics.

Eureka. A newsletter. David graciouslyshares ideas on how it’s done.

Day five. We dive right in. Content andguidance comes from a group of advisorsand contributors whose business is thebusiness of film, video and digitalproduction. They are cinematographers,assistants, friends, colleagues,manufacturers, designers and inventorswho have all answered the call, andvolunteered to help launch this newendeavor.

Gurus and Advisors

This is the midnight Technique andTechnology Round Table–a group ofgurus and wizards who answer our callsfor help, respond to email and send inarticles. Please welcome and thank:Douglas Kirkland, Photographer; JohnJohnston, Kodak; Michael Phillips, Avid;John Dowdell, Colorist; Joe Dunton, JDC;Bob Fisher, CCS; Martha Winterhalter,Publisher ASC Press; Saul Molina, ASCPress; Bill Bennett, ASC, Cinematog-rapher; Denny Clairmont, ClairmontCamera; Franz Wieser, ARRI Inc.;Thomas Greiser, George Schmidt, ARRIInc.; Otto Nemenz, Otto NemenzInternational; Suzanne Lezotte, DanHammond, Panavision; Les Zellan,Barbara Lowry, Cooke Optics; Bill Turner,Century Optics; Larry Barton,Cinematography Electronics; HowardPreston, pres. Preston Cinema Systems;Steve Burum, ASC, Cinematographer; JanCrittenden, Panasonic; Volker

Bahnemann, pres. ARRI Inc. and CSC;Peter Abel, Abel Cine Tech; Alec Shapiro,Rob Willox and Bob Ott of Sony; VinnyHogan, Mark Polyocan, Cineworks; JoeyViolante, Technicolor; David Metz,Canon; Howard Phillips, Professor; SteveManios, Ste-Man; Billy Baldwin, MattSchneider, Postworks; Matt Blute, editorand cameraman; Misael Sanchez,Columbia University; and many others.

I hope you enjoy this newsletter. Thanksand Best Wishes,

Jon Fauer, ASC

About this New Newsletter:

Published 6 times a year by Film and Digital Times

Jon Fauer, Inc.PO Box 422

Easton, CT 06612-0422

New subscriptions: 877-445-8301Fax: 203-445-0735

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It’s guaranteed. If you are notcompletely satisfied, we’ll grudgingly

refund your subscription cost.

© 2005 Film and Digital Times

®

MAY/JUNE 2005 3

Rembrandt van Rijn (1606 - 1669)painted “Philosopher in Meditation”around 1632, shortly after he first arrivedin Amsterdam. It is on display at theMusée du Louvre, Paris.

Rembrandt would have been a greatcinematographer. Andrew Laszlo, ASC,affectionately titled one of his books EveryFrame a Rembrandt, the play on wordsand homage often used when a directorasks the DP, “how did the last take look?”

I thought Andy’s next book would beEvery Frame a Caravaggio, but hepreferred It’s a Wrap. (Both are must-reads: order from www.theasc.com).

The “Philosopher in Meditation” is auseful reference for cinematographers andart directors in discussions of lighting,color, composition, emotion and story.Composition is elegant: the philosopherin the middle, circular stairs on the right,balanced by the window and light source

on the left. It reminds me of the artdirection in the classroom for HarryPotter 3 Prisoner of Azkeban.

How would Rembrandt light “Philosopherin Meditation” with a 10-ton equipmenttruck instead of oil paint on a small pieceof wood?

At first it appears to be single sourcelighting coming through the window atleft. Maybe a couple of 18K’s placed wayback, warmed with CTS, and softened by

a 20'x20' light grid cloth, also positionedfar back so the window creates a naturalcut, but the light still wraps around thephilosopher’s face. We’d ask the artdepartment to paint the wall on the leftespecially dark.

It’s interesting that another source of lightis in the shot: coming from the fireplace.It provides illumination not only for thewoman, but also adds fill, in a diagonaldirection guided by her tongs directly tothe philosopher’s face.

Lighting with Paint

Film in a Digital Age More majorstudios are embracing new postproduction streams. The new digitalparadigm goes something like this:shoot film, transfer to tape and digitizeto hard drive, edit electronically (AVID,Final Cut Pro, etc), scan or telecineselects, make a digital intermediate,digitally color-correct and create effects,and then “print” electronically back to film with a laser or other film-outdevice, and simultaneously master toDVD, tape and hard drive.

D20, GENESIS, DALSA We’ve beenkicking the tires of new digital cameras,and will share results in upcomingvolumes. What has most of us excited isbeing able to use the huge inventory ofexisting 35mm motion picture formatlenses with single chip cameras.

Arriflex 235 Accessories Manyaccessories and add-ons for the 235

from ARRI and third-party vendors: anew lightweight follow focus, longeyepiece extender, and camera-leftdisplay panel (plugs into CCUreceptacle, also works on 435, 535 and16SR3). Two more magazines for the235: a 400’ shoulder mag and a 400’Steadicam mag. Hydroflex has alightweight handheld splash bag for the235. JDC has a a splash bag with remotecontrol capabilities.

Super16 Recent figures from Kodakshow a massive resurgence of Super16production. Why? Two reasons—thenew Vision 2 film emulsions are almostgrain-free, with wider latitude, bettercolor, improved contrast—DigitalIntermediates enable good blow-ups.We’ll do a whole issue of this newsletteron Digital Intermediates very soon.

What does this all mean? Increased useof Super16 cameras: Aaton a-minima,

Super16 Bolex, Arriflex 16SR1, 2, 3, andthe tiny, light and cheap a-cam SP-16from Sweden (www.ikonoskop.com).Cooke (www.cookeoptics.com) has justintroduced two new SK4 lenses forSuper16: 9.5mm T2 and 12mm T2.

HDV Lots of excitement over Sony’sHVRZ1U HDV camcorder, coming up inour next issue. HDV may be the “killerapp” that will send all of us to Best Buysand Circuit City to finally get the BigHDTVs that we’ve put off purchasing forthe past five years.

NEW LENSES Lots of new lenses inthe works—Angenieux, Cooke, andZeiss are working on lightweight, shortzooms for the Arriflex 235 and otherhandheld cameras. I expect the wide endwill be somewhere between 15 to 17mm,the long end around 35 to 50mm, and

Camera Reports, Cries and Whispers

(Continued on pg. 14)

MAY/JUNE 20054

Biscayne Bay. Last week of December, 2004. Shooting camera tests on Tom Reid’s Motion/StillsCamera Boat for an upcoming feature. On board: Arriflex 235 (courtesy CSC Florida), Sony HDR-FX1HDV camcorder and Canon XL-2 (courtesy Abel Cine Tech). We’ve already tested Panasonic’s DVX-100a a few months earlier on The Great South Bay off Bellport, Long Island. Day begins calm,wind picks up to 20-28 knots, 5'-8' swells, chop and lots of spray. It’s an assistant’s nightmare.

Jobs Aquatic

While wisdom suggests being preparedfor anything, the first day rolling aroundat sea quickly sorts out what’s essentialand what to leave behind on day 2.

1. Essentials: bring lots of bottled water,towels, Dust-Off, clear plastic garbagebags (www.uline.com), Pelican waterproofcases (www.pelican.com), waterproofvinyl dry bags (www.seallinegear.com)and waterproof sunscreen.

2. Get a good camera boat with anexperienced boat driver and intercom.Your legs and body are the best stabilizersavailable. Absorb the rolling swells withyour legs, bending with feet wide apart.Use the built-in image stabilizers ofcamcorders. For the 235, we liked theKenyon Gyro KS-8 attached to the camerabase. (www.ken-lab.com).

Cameras Compared

Sony’s HDR-FX1 HDV has the sharpestcolor finder and LCD screen we’ve seenon a camcorder, making eye-focus easy.Even if you’re not delivering HDV,shooting standard DV seems to besharper than many standard DV cameras.

The Canon XL2 uses interchangeablelenses—I wish all these cameras had them. It has the most logical menus andcontrols. It’s larger than Sony orPanasonic, but rests comfortably on yourshoulder. Adding extra large batteries inback will help counter-balance the camera.

Panasonic’s DVX-100a is the smallest ofthe group, very easy to use, true 24p,established workflow for editing withAvid or FCP and then doing a film-out.

The Arriflex 235 may be the most fun youcan have with a film camera since 1976:lightweight, modular, fast, easy to use, andrelatively inexpensive. It producesspectacular and steady images with its lowcenter of gravity, pin registration andergonomic design. It’s so comfortablesitting on your shoulder, you’ll bereluctant to put it down.

How to Shoot Steadily at SeaArriflex 235, Sony HDR-FX1 HDV, Panasonic DVX-100a and Canon XL-2

Clockwise, from 12 o’clock above: camera boatdriver Ted Bevelacqua, Sailing Coach AlexandroSolé, Camera Assistant Walter Rodriguez,Cameraman and Producer Tom Reid.

EXT. BAY, WIND. SALT WATER. SPRAY - DAY

When all else fails, try to decipher theinstructions that come with the camera. Historic moment when this newsletter gets itsname. Photographer James Kilby, above right,says, “Jon, get that newsletter going—call itFILM AND DIGITAL TIMES.”

Kenyon Gyro KS-8

MAY/JUNE 2005 5

ARRI Lowrider Mags

Three New Visions

We tested three new Kodak Vision 2 filmstocks in 200' and 400' loads: 100T (5212),200T (5217) and 250D (5205).

Totally subjective opinions: I liked the lookof the 250D best on the water. It seemed tohold the best shadow detail with the truestflesh tones against super-bright backlightreflecting and sparkling off the water.However, the 100T, with its lower ASA, waseasier to use because we did not have to cutdown the light as much with neutral densityfilters on the front of the lens. Much as Itried, I could not see any increase of grainwith the 200T stock compared with 100T.

Evaluation and Conclusion

Processing and telecine were done atCineworks Digital Studios of Miami on a Sony Vialta FVS1000 with DaVinci 2Koutputting on Sony HDCAM 1080i.Vinny Hogan, Carl Alessi and MarkPolyocan organzied the tests and gavemuch support. (www.cineworks.com).

Our MiniDV tapes were recorded onto thesame HDCAM master for evaluation andside-by-side comparison.

All the cameras provided beautiful images,and choice becomes a highly subjectivematter of style, venue, budget and look.

4:3 frame for DV on HDR-FX1

1. Set main power switch to CAMERA.2. Press Menu Button.3. Go to IN-Out REC.4. Go to REC FORMAT. Select DV.5. Go to TV Type. Select 4:3 forletterboxed. Select 16:9 for squeezed onnormal set, and true 16:9 on a 16:9 set.

6. Go to CAMERA SET submenu,press Sel/Push Exec wheel to select it.7. Navigate all the way to thebottom—it’s not visible at first—toDV WIDE REC – select ON for 16:9,select OFF for 4:3 (16:9 cropped atedges—you’ll see the grayed out areain the finder.

You can’t record a 4:3 size in HDV—but you can always crop later inediting.

To get DV from HDV program:

1. Switch main POWER switch to VCR.2. Press Menu button.3. Use the Sel/Push Exec wheel to goto In/Out rec submenu.4. Press Sel/Push Exec button to select it.5. Go to VCR HDV/DV menu – selectAUTO.6. Go to Component menu – select1080i/480i.7. Go to i.Link CONV menu – selectON (HDV-to-DV).8. Go to TV TYPE – select 4:3 forletterbox or 16:9 for squeezed onregular set, unsqueezed on a 16:9 set.9. Go to A/V-to-DV OUT – Select “ON”.

SONY HDR-FX1

On the Sony HDV camera, the shiny knob (lowerright) is the easily accessible manual iris dial—use it often. Select Steadyshot from menu forimage stabilization—it doesn’t degrade picture.

All manufacturers should consider this: Sony’sreally clever built-in lens cap and French Flag.

The HDR-FX1 is the consumer version of Sony’sHVR-Z1U. They share many of the same features.The helpful color monitor folds over for low angleviewing. Even if you just shoot in DV format,sharpness of the finder and monitor are sohelpful for focus it’s worth upgrading your PD-150 or 170.

Tom Reid on the flying bridge of his camera boat.The low center-of-gravity of the new Arriflex235 200’ (above) and 400’ magazines are much steadier handheld in high winds androlling seas than 35-3 or 435 higher profile magazines (below).

6

The KODAK Look ManagerSystem (KLMS) is, amongother things, a computerprogram for cinema-tographers to shoot digitalstills and share them withcrew, lab technicians,colorists, editors, and postproduction to maintain thedesired “look”.

We recently used KLMS bothexterior and in a studio. Itwill continue to be a featuredtopic in future issues. Here’sa brief intro.

1. Install KLMS onto yourMac or PC. The faster the better; laptoprecommended. An optional calibration“spider” plugs into the computer’s USBsocket to make all monitors in your foodchain consistent.

2. KLMS is calibrated to work with thefollowing digital still cameras: Canon10D, Canon Digtial Rebel, Nikon D70,Nikon D100, and the following image fileformats: •.dpx, •.cin, •.crw, •.nef, •.tif.More cameras will be added. Other digitalcameras work, results not guaranteed.

3. Canon cameras: save images as RAW .crw files.

4. Nikon D70: in the camera menu, set“Image quality” to RAW NEF (.nef).

5. Set the camera to Manual exposure(this also turns off the flash.) Take thedigital still using the same ASA andexposure as the motion picture camera.Remember, shutter speed is 1/fps x2 witha 180° shutter. So at 24 fps, closest shutterspeed on Nikon is 1/50 sec.

6. Load the digital stills into your laptop.

7. From the top menu line, click on Nodes- Input/Output Nodes - Input Roll/Image.

8. A hand appears. Position it on the work

area, and click. Select the foldercontaining your stills. Click OK.

9. Double click on the imageyou want to work on. ClickClose.

10. Next, select where thecamera negative is going: filmdailies, telecine, etc. In thisexample, we’re going totelecine. Click on Nodes -Emulation Modes - Telecine.Future versions may workdifferently.

11. Click on the blue dot of theimage and the red dot of the

telecine. A line connects them, showingthe workflow.

12. Double click on the telecine icon.Select Quick Preview.

14. Use the sliders to raise and lowerbrightness. Move the “joysticks” with yourmouse to adjust color.

15. Click Update when happy. The resultpops up in Imageviewer. Right-click (PC)or Ctrl-Click (Mac) in Imageviewer tosave or print.

Next issue: printing it out, emailing to lab,using digital stills to check exposure.

Intro to Kodak Look Manager System (KLMS)The script says - Golden Ssunset. In real life, it’s looking like the picture at left. Your favorite sunset filter just fell overboard, you want itto look like the picture in the middle. You don’t want it to look like the picture at right. You tell the skeptical director “I promise you aGolden Sunset. I’ll stake my reputation on it.” You’re shooting Vision2 250D. You can’t supervise telecine for video dailies. How good areyou at describing degrees of gold to the colorist over the phone at midnight? Here’s how to get what you want, maintain the look, andkeep your stellar reputation intact with KLMS.

A.Take a Digital Still B. Set the Look; Send to Lab C. Don’t Get Lost in Translation

MAY/JUNE 2005 7

This could be the most comfortableshoulder-resting, handheld camera sinceJean-Pierre Beauviala enticed us withAaton ads of a black cat sitting comfortablyon a cinematographer’s shoulder.

In addition to being a handheld grabcamera, the 235 is useful for Steadicam,Doggicam, car rigs, motorcycle rigs,bicycle rigs, helicopter rigs, in underwaterhousings, crash housings, and anywhereelse you need a small, lightweight body.

We used one of the first prototypes on a Close-Up toothpaste commercialproduced by John Posimato of TrafficFilms. We anticipated having it as a “grab”camera to get extra angles and shots. Itwas so versatile, and balanced so steadilyin handheld mode that we used it to shoot most of the commercial.

As a grab camera on features,commercials, and television series, youcan keep it set up with lens, mag and on-board battery at all times–because it is sosmall and light.

For this, you’ll want a custom case with thecamera fully set up, ready to go. Get aCineBag, Kata, Tenba or Portabracecamcorder-style soft case. Although theseare not intended for shipping or droppingoff the liftgate, they will protect the camerafrom the minor bumps of a hand-carriedday. When it comes time to ship, use awaterproof hard Thermodyne case with anextra 1" to 2" of foam all around to helpprotect the soft bag and its contents. Makesure you remove the lens.

What it can doCamera body and viewfinder:3.5kg/7.7 lbs (about 1/2 of a 435).

Speeds: 1 to 60 fps forward; 23.976, 24, 25,29.97 and 30 fps reverse.

Mechanically Adjustable Mirror Shutter:11.2, 22.5, 30, 45, 60, 75, 90, 105, 120, 135,144, 150, 172.8, 180°.

Uses 435 Groundglasses. No masks. NoARRRIGLOW. Universal Gate. 3perforation option.

Single pulldown claw with 2 prongs (like 35-3).

Single registration pin in optical printerposition (better than 35-3). Note: 435 haspulldown and registration pins on bothsides. 24 Volts DC. On-board batteryattaches to top camera-right side.

The viewfinder and video assist areindependent of each other, which meansyou can remove the finder and leave thevideo assist on the camera. This makesswitching from handheld to Steadicam fast.

The 235 can do speed-iris ramps. It willnot do speed-shutter ramps, because the

shutter is mechanical. (The 435, 535A andArricam will do speed-shutter ramps.)The 235 works with the ARRI RemoteControl Unit (RCU), Wireless RemoteControl (WRC), Iris Control Unit (ICU),Electronic Synchronization Unit (ESU)and the ARRI Wireless Remote System.

The 235 main display, video assist controlsand threading are similar to the 435.

For handheld, I highly recommend thenew 200’/60m and 400’/120m (availableMay 2005) shoulder magazines. Theyhave a low center of gravity, are steady,light and very comfortable.

The 235 also accepts most existing200’/60m and 400’/120m Arriflex 2C, 235-3and 435 magazines. 1000' magswil notwork. During our tests from the pitchingdeck of a camera boat in heavy winds, wefound the higher profile of the “normal”magazines made the camera less stable. It’ssort of like the experiment you did as a kid:poke two forks in a cork and balance it onthe edge of a glass. If the forks point upfrom the cork, it falls down. If the forkshang below the cork, the lower center ofgravity helps balance.

How the NewArriflex 235 worksThe Arriflex 235 is a tiny, lightweight, 35 mmmotion picture camera not much bigger than aMiniDV Camcorder. It looks like an oversizedsausage or baby dolphin sitting on your shoulder.

Grip Sal Carolei (left) and Camera Assistant Bob Becchio (center)

MAY/JUNE 20058

Arriflex 235 – Camera Left side

Unscrew eyepiecehere; add mediumfinder extender.

3/8"x16 threadedmount

Viewfinder works likethe 435: pivots toeither side of camera;rotates 360° parallel tocamera; and extendsin-out from camerabody by loosening ring.

PL Mount (also available inPanavision mountfrom 3rd partymachinists andPanavision).

“RUN” LED glowsgreen when camerareaches pre-set speed.Glows red whencoming up to speed orsomething’s wrong.

Tape measure hookand film planeindicator

PHASE: In standby, push briefly tocheck the gate. Keep pushing to inchcamera and check mirror shutterangle (note: not an accurate shootingspeed). When cameras is running,push to clear TV roll bar.

Push to start camera–push to stop.

Adjust diopter herefor sharpest viewingof image.

2 finders available:universal and spherical.

MAY/JUNE 2005 9

235 Setup

To save weight and work fast, avoidsliding baseplates and below-the-lensrods. Attach a Sachtler style Touch-n-Go plate to the bottom. Use ARRI’sside bracket with carbon fiber rodsand the new lightweight LFF-1 followfocus or wireless focus. Attach an on-board battery. And mount thestandard handle so it faces forward.That way, the camera balances alongits center line for level low anglehandheld shots.

Loading 235 Mags

235 Shoulder and Steadicam magsload just like Arriflex type 2, 3 and 4mags: cut film across the perfs, pullfrom throat to index mark.

Be sure to go around the outside ofthe two guide path rollers.

Camera door latch is the sameas the one on Arricams: to open,push on the dots to pop the knob out, and twist knob clockwise.

Mag latch is the same as the one on 16SRmagazines: to open (in changing bag ordarkroom), push on the spring steel safetycatch, and turn knob clockwise.

Viewfinder: works like the 435extends in and out from camera body;pivots to either side of camera;rotates 360° parallel to camera.

200’ “Banana” Mag, also called “Dolphin” Mag.Displacement, same mechanism as 435 mags.

The 235 accepts 200’ and 400’ 2C, 35-3 and435 type magazines. 1000’ magazines cannotbe used.

MAY/JUNE 200510

Arriflex 235 – Camera Right side

Power cable

On-board batery

“Normal” fps: 23.976,24, 25, 29.97 or 30)

Programmed Speeds: 1-60 fps

Footage counter

Remote connector

Camera’s main powerswitch

Push to start camera–push to stop

MODE=menupages

Green/Red Run LED

Buttons and Main Display

To reset footage counter:1. Push MODE button until you seefootage exposed in Main Display.2. Push SET button for 2 seconds.

Changing meters to feet:1. Push MODE button to get to page 3 (you’ll see a little 3 on middleright side of display).2. Push the SEL button: you’ll see “m/ft”blink.3. Within 3 seconds, push the SET buttonto switch between m and ft.

Setting NORMAL frame rates:1. You have to be in home page.2. Push the NORM button.3. Push the SEL button to cycle to thedesired frame rate.4. Within 3 seconds, push the SET buttonto accept it.

Setting PS: Programmed Speed1. Push the MODE button to get to page 2.2. Push the SEL button to jump to thedigit you want to change.3. Push the SET button to change thevalue of that digit.4. Push SEL button to jump to otherdigits.5. You don’t have to push any buttons to accept your choice.

Cd: Change Direction, Reverse Running1. Be careful. The first time you push theSEL button to change the programmedspeed, you’ll see the dreaded “Cd” ChangeDirection icon flashing. Don’t despair:keep pushing the SEL button to get pastthis command.2. If you really want to run in reverse (I shudder at the thought, because of thedanger of double-exposing film), Pressthe SET button for more than 3 secondswhile the Cd icon is blinking.

Things you can do while camera is running1. You can switch from NORMAL framerate to the pre-selected ProgrammedSpeed while the camera is running (the shutter does not automaticallycompensate).2. You can change the ProgrammedSpeed in .001 fps increments while thecamera is running by pushing the up ordown arrows.

Battery voltage is displayed in Page(Mode) 3.

LOCK to preventaccidentally changingvalues

MAY/JUNE 2005 11

IVS video assist

RS start/stop connector, 24 V DC

“Select” ordecrease value

“Set” orincrease value

Menu page--thisshows page 1

Side bracket

Pull to swing over finder

Push button to unlockimage compensation,then turn knob

Eyepiece friceyepiecefriction up-downtion

Standard carrying handle

Handgrip rosette

Black box tells usit’s “Home” page

MAY/JUNE 200512

Build Your Own Arriflex 235Like the Arricam, most of the 235 modules attach with a 3mm Allen (hex) driver. The top handle requires a 5mm driver.

HandgripLow mode handle

On-board battery

200’ shoulder mag

On-board batterypower cable

Side bracket

235 body

Baseplate Shoulder pad

Medium finder extender

IVS video assist

Finder

Low mode support (Steadicam handle)

CAMERA ARRIFLEX 235 ARRIFLEX 435 Xtreme ARRIFLEX 35-2C ARRIFLEX 35-3

Speed 1 to 60 fps 0.1 to 150 fps 2 to 80 fps (dependingon model)

5-130 fps

Shutter angles 45° to 180° manually adjustable

11.2° to 180°electronically adjustable

165° fixed (some models 0°-165°)

15°-180°

Weight (body & finder) 3.5 kg/7.7 lbs 7 kg/15.4 lbs 4.2 kg/9.3 lbs 5 kg/11 lbs

Lens mount PL mount PL mount with LDScontacts

Turrett or PL conversions PL mount

Registration single pin dual pin no registration pin; pull-down claw only

single pin, not opticalprinter position

Speed ramps 1 to 60 fps with iriscompensation; RCU orWRC needed.

0.1 to 150 fps withshutter and/or iriscompensation; controlbuilt in

Comparison Shopping

MAY/JUNE 2005 13

Joe Dunton’s splash bag for the 235was first to market, with Pete Romano’sHydroflex bags and others comingsoon. Surfing, sailing and scuba dry suittechnology makes camera splash bagspossible—especially their waterproofzippers.

Important first step: test the bag byzipping it up and dunking it underwater without the camera. If you see airbubbles, there’s a leak. A pin-hole is allyou need for disaster, and even thoughthe 235 is half the price of a 435, it stillcosts more than most luxury cars.

1. Once it’s passed the test, dry the bagthoroughly, unzip it, neaten the cables,and slide the camera onto the familiarARRI dovetail slider. Plug all the cablesinto their sockets: power, CCU, video,monitor, lens controls.

2. Carefully zip shut. Squeeze the bag tocheck for leaks. (I wouldn’t go deeperthan 6 feet—it’s supposed to go to 12—remember, it’s a splash bag, not anunderwater housing.)

Air nozzles attach to scuba tank to blowwater off the front port. Rainex,available from most automotive stores,helps repel droplets.

3. Plug your connectors into the panelon the bag’s right side. Keep unusedreceptacles capped.

4. Ready to shoot. On warm days incold water, put a few silica gel packetsinto the bag to absorb moisture build-up and prevent the front port fromfogging up.

6. Good idea: safety rope and fender.

7. When wrapping, thoroughly spraythe bag with fresh water to wash offcorrosive salt that will eat away thealuminum and metal parts. Use thelatex protectant that comes with thebag to prevent it from drying out andto prolong its life span.

Use zipper wax and fluid periodically.These protect and prolong zipper life.

Keeping Dry with JDC Arriflex 235 Splash Bag Opening Credits:Howard PrestonA regular column on the inventors,manufacturers, geniuses, tinkerers, thinkers,and camera people who actually come upwith the tools that make our jobs possible.

Howard Preston is president of PrestonCinema Systems, famous for theMicroforce, Radio Micro Force (above,camera left side), FI+Z (Focus, Iris,Zoom) wireless system, V+F LensControl, Digital Motors, FI+Z F/X (above,camera right side) and a new LED Eye-Light with wireless dimmer.

Howard graduated from UCLA with a degree in Physics. He went on to dospecial effects work. The MicroforceZoom Control was born when he wasdoing aerials on Invasion of the BodySnatchers, and the control he had wasdrifting and lurching.

The Speed Aperture Computer wasinvented to simulate the experience ofmoving at the speed of light for CarlSagan’s Cosmos series, while shooting froma Vespa racing through the streets of Vinci,Italy. “It all came out of trying to makethings better, to add value to production,and to make the DP’s job easier.

What I learned fromHoward recently:if your big, new zoomlenses are slipping, itmay be that the olderstyle analog (round)Microforce motors are,well, getting old. The

answer is to ask the rental house for a new-style DM1 Digital Motor (above) or DM2.Preston Cinema is in a Santa Monicagallery-like space filled with AstridPreston’s beautiful artwork and landscapes.(www.prestoncinema.com)

Howard Preston

MAY/JUNE 200514

Limiting Area of Perception

Steve Hylén is a Director-Cameraman witha distinguished reputation for selectivevision—focusing the viewer’s attention ona particular part of the frame. For many of his commercials, he would shoot on thelong end of the lens and carefully placecrystals, glass, plastic and other objects in the foreground or around the edges.He wanted to “limit the viewer’s area ofperception, lose information in the frame.”

I ran into Steve at Cinegear last summer,and he explained his new invention to me.It seemed like an optical impossibility. Heexplained,“our normal field of view, sittingstill, is really equivalent to a 28mm lens in35 format. But the peripheral area is soft,out of focus. Only the center is sharp.”

So he set out with Panavision to come upwith a lens system giving us that effect, anda few weeks ago I saw it working there. TheHylén System sits between the lens andlens mount, using relay optics that lose less

than 1/4 of a stop of light. You don’t haveto compensate exposure.

Selective Focus

Selective focus is achieved with “plug ins,”using an optical focusing cartridge thatcan be moved up-down, left-right and in-out to create limited area focus.

It’s the high tech, elegant improvement tosmearing Vaseline on a filter, leaving thecenter clear, and moving it by hand.Hylén’s “filter” is introduced in the lightpath between the rear element of thetaking lens and the front of the relay lens.

Using a joystickcontrol thatlooks like aNintendo box,you can movethe clear spot,or whatevereffect the plug-ins provide, to

track action. By moving the cartridge in-out (Z-axis), you can intensify or decreasethe effect, even while the camera isrunning.

Example.

You’re doing a cosmetics spot. The model,selected from casting tapes and callbacksof over 1,000 beautiful women, is walkingleft to right, from a wide shot into a close-up. But wait. The agency doesn’t like thebackground: “We’re paying a millionbucks for the model, not the background.”Not to worry. You pop in the plug-in withoval pattern, keeping talent sharp andbackground soft. On the next take, theHylén System operator (new camera crewcategory, game skills helpful) tracks themodel, and with extra flair, softens thebackground even further at the end of theshot to keep viewers’ attention on thegorgeous close-up and cosmetics at work.Tears stream down the agency artdirector’s face and the client is cheering.

The Hylén System covers the Super 35 filmformat. It accepts all Panavision sphericallenses 6mm and above, front-anamorphicelement lenses, and also works onPanavision’s new Genesis digital camera.Stay tuned as new plug-ins are developed.For more info: Dan Hammond atPanavision Woodland Hills.(dan_hammond@panavision.com)

Hylén System from Panavision

they’ll weigh 4 to 6 pounds. Meanwhile,we’re using Century Optics Canon17-35 T3 amd Minolta 28-70mm T3.(www.centuryoptics.com)

Six Master Prime 35mm format PLmount lenses from ARRI/Zeiss will bedelivered May 2005: 18mm, 25mm,35mm, 50mm, 75mm, 100mm T1.3.Look for seven more T1.3 MasterPrimes in July 2005: 16mm, 21mm,27mm, 32mm, 40mm, 60mm.

Three achromatic diopters (+1/2, +1,and +2) provide close focusing andbetter optical quality than the diopterswe often use—you know, the ones thatlook like filter blanks.

There’s a new Ultra Prime 8R wide angle8mm T2.6. It’s rectilinear, smaller thanthe 10mm, not a fish-eye. That meansround objects get stretched horizontallyat the edges instead of looking like you’repeering into a mirrored ball.

NEW LENS CONTROLS Meanwhile, Preston Cinema Systems,Cinematography Electronics, Scorpio,ARRI, Cooke and others are developingLens Date Systems and WirelessControls to provide real-time depth offield and lens display read-out,automated focus tracking, and otherhelpful ideas.

Keep an eye on this column for hot newtools and developments.

Camera Reports, Cries and Whispers Continued from pg. 3)

MAY/JUNE 2005 15

Camera History: Sept 1922

Debrie Sept 35mm motion picture camera, 1922.

The Sept, or Seven, gets its name from theseven functions it perfoms: as a double pin-registered motion picture camera, asequence camera, a 250 exposure half-framestill camera, and, with the adition of alamphouse, a motion picture projector, filmstrip projector, still enlarger, and contactfilm printer.

This spring-wound camera wasmanufactured in Paris by EtablissementsAndré Debrie. The logo appears to be thedevil leaning against the number 7, but italso looks like the devil sitting in adirector’s chair.

It’s tiny: 5 1/2 inches high, 4 wide, and 31/2 deep. The spring motor runs only fivemeters of film (about 16 feet of film,lasting only 17 seconds). It was a favoriteof early newsreel cameramen who werepirating events to which a rival companyhad exclusive rights. Other tricks includedbouncing sunlight from pocket mirrorsinto rivals’ lenses.

Credits

Design: Piotr Zmuda, ZetDesignPhoto credits:Tom Reid Motion/Stills(www.trmotionstills.com)James Kilby (www.jameskilby.com)Thomas GreiserJon FauerSept: George Eastman House

Model: Tess SchooldermanCamera Assistant: Bob BecchioClient: Church & Dwight Spot: Close-Up ToothpasteProducer: John Posimato

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The how-to newsletter of high-end technique and technology in film, video and digital production

MAY/JUNE 2005

Coming Soon in Future Issues

The how-to newsletter of high-end technique and technology in film, video and digital production

Film and Digital TimesPO Box 422Easton, CT 06612-0422

New Styles in Lighting

Maintaining your Equipment

All about SONY Z1

®

How to do a Digital Intermediate–workflow from pre-production through post.

Film Formats: Super35, 3 Perf, 16:9, Storaro’s Univisium 1:2.

All about the new Kodak Vision2 Stocks.

Going Digital: Telecines and Scanners.

Software for Shooting: from Storyboard to Prep through Post.

Moving the Camera: Cranes, Planes, Automobiles, Dollies, Doggicams.

Lighting: Secrets of the Pros, New Lights, New Looks, The Art of Lighting.

Kodak Look Manager System.

New Lenses: Cooke, Zeiss, Angenieux and Others.

Stills for Cinematographers: Checking expsosure with Nikon D70, Canon D20,Printers and Software.

New: ARRI D20, Panavision Genesis, DALSA.

Check out the latest camcorders from Sony, Canon, Panasonic and others.

On-location with Sony’s new high definition HDV HVRZ1U.

How do we edit HDV MPEG files on Avid and Final Cut Pro?

New video accessories from ARRI.

Blowing up Sony HDV, JVC HDV, Canon XL2 and Panasonic DVX-100a to Film.

Aftermarket accessories for all cameras: the good, the bad and the useful.

Stay afloat with the latest news on underwater housings, splash bags, remote heads,car mounts, bicycle and motorcycle mounts, Steadicam mounts, aerial rigs, balloonrigs, retrofits, 100’ daylight loads, cases, bags, backpacks, tripods, and more…