<img src="/img/v1/news/news_2004-05_01_01.gif" alt="Hawks, Arricam & PSU-1" width="405" height="141" border="0"><br> <img src="/img/v1/sp.gif" alt="" width="1" height="5" border="0"><br> <img src="/img/v1/news/news_2004-05_01_02.jpg" alt="" width="405" height="208" border="0"><br> <img src="/img/v1/sp.gif" alt="" width="1" height="5" border="0"><br> <table border="0"> <tr> <td valign="top" align="center"> <img src="/img/v1/sp.gif" alt="" width="1" height="94" border="0"><br> <img src="/img/v1/news/news_2004-05_01_09.jpg" alt="" width="145" height="191" border="0"><br> <br> <img src="/img/v1/news/news_2004-05_01_03.jpg" alt="" width="195" height="141" border="0"><br> <img src="/img/v1/sp.gif" alt="" width="1" height="24" border="0"><br> <img src="/img/v1/news/news_2004-05_01_10.jpg" alt="" width="145" height="191" border="0"><br> <img src="/img/v1/sp.gif" alt="" width="1" height="35" border="0"><br> <img src="/img/v1/news/news_2004-05_01_11.jpg" alt="" width="145" height="191" border="0"><br> <img src="/img/v1/news/news_2004-05_01_04.jpg" alt="" width="195" height="141" border="0" vspace="10"><br> <img src="/img/v1/news/news_2004-05_01_05.jpg" alt="" width="195" height="141" border="0"><br> <img src="/img/v1/news/news_2004-05_01_06.jpg" alt="" width="195" height="141" border="0" vspace="10"><br> <img src="/img/v1/news/news_2004-05_01_07.jpg" alt="" width="195" height="141" border="0"><br> <img src="/img/v1/news/news_2004-05_01_08.jpg" alt="" width="195" height="141" border="0" vspace="10"><br> </td> <td> </td> <td valign="top"> <p><br> Vantage Film supplied camera equipment to Shark in the Head,<br>a full-length Czech feature film, which was shot entirely with HAWK anamorphic lenses and the PSU-1.<br>The production took place in Prague<br>in May 2004. Here we come with the filmmakers' feedback:<br> <br> <b>Vráťa Šlajer, Producer (Bionaut), on the film and the camera equipment:</b> Shark in the Head is a small film - so our picture quality requirements were all the greater. It is a markedly visual, creative and emotive film which follows the hero's inner life. In the film we work with a whole range of formal processes - from changing speed during a shot, cross-fades, camera reoccurrences, animation and digital special effects.<br> <br> Even when using digital postproduction (i.e. scanning a 35mm negative to 2k resolution, alteration and transfer back to a 35mm negative) we decided to use anamorphic lenses against an S35mm format, i.e. to use a standard anamorphic filming route.<br> <br> Using Vantage Film´s camera equipment provided the experience<br>of state-of-the-art equipment with 100% service and backup, the option of fast operative changes during filming, surprisingly functional technology such as PSU, not to mention the high standard of HAWK lenses...<br> <br> <b>Maria Procházková, Director, on the PSU-1:</b> We took 30 days to make Shark in the Head, so I had a lot of time to get to know and appreciate PSU in practice. We used PSU the whole time, especially for more complicated shots, in particular multiple stop special effects, during which we were, for technical reasons, forced to move the camera; thanks<br>to the recording we were always able<br>to return precisely to the original place.<br> <br> For me, PSU serves as a simplified mobile editing room tailored to the requirements of a recording and its further informative processing on the set.<br> <br> <b>Martin Štěpánek, Cinematographer, on the PSU-1:</b> When evaluating PSU-1,<br>I would like to focus on the part that relates to communication between the cinematographer and the director.<br> <br> Comparing the size of shots and compositions with the director on the set enabled us to choose the right options and film them immediately, making the whole process very efficient.<br> <br> The option of viewing scenes that had already been filmed and roughly edited on a monitor often made my decisions to find new compositions much easier.<br> <br> <b>On HAWK Anamorphic Lenses:</b> The whole story takes place in a real ground-floor room measuring 4 x 3.5m and on a street which, with only a few exceptions, we did not leave. The story also contains the dreams and imagination of the hero, which are on the border of reality and fantasy.<br> <br> The point of making the film anamorphic was the overall resolution of the picture. The size of an anamorphic negative is almost twice<br>as big as is the case with S35.<br> <br> I had already worked with Vantage Film on other projects and the reliability<br>and quality of the technology and the people convinced me to use HAWK lenses and technology from Vantage Film.<br> <br> I used the following range of lenses for filming: 30, 40, 60, 75, 100, 135, 250 and on some days zoom 46-230, 300-900 and f-25 and f-120.<br> <br> I have to admit that, after the first few days of filming, when I was re-writing the first dailies, I was very surprised<br>by the sharpness and quality of the screening - the resolution. I filmed a lot of extreme close-ups: eyes, hands, faces. All the glints in people's eyes and the slightest wrinkles on people's hands could be seen.<br> <br> During filming I found that a 46-230 zoom lens was essential. Its main use was focusing up to a distance of 0.4m without using a macro (which is part<br>of it), which I appreciated when filming subjective views, where the hands, palms and other actions were filmed approximately 20cm from the lens,<br>at a focal distance of 46mm.<br> <br> I used a macro on the lens as standard when filming big close-ups with a wide lens (f-46), the shot had greater perspective and dynamism than when using the f-120 macro.<br> <br> Overall, as a cinematographer, I was very pleased with the range of expression and variability the lenses offered me during filming.<br> <br> </p> </td> </tr> </table>
