Robert Hart
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John Darling, an Australian documentary film maker, some years ago made a documentary series titled "Bali Tryptic" which then as I recall revisited the Balinese culture such as it then still survived. Here is a link to the trailer. I only ever saw a part of one of the episodes. My recall is that it relied on minimal voice-over narration and resembled in its style, the Legong documentary you linked to but with the advantage of location sound.
http://www.youtube.com/watch?v=YOaLguljP2A
I think he also visited after Bom Bali to examine the situation of the Balinese survivors. Sadly, John Darling is no longer with us. He passed on this year.
http://www.smh.com.au/national/obituaries/filmmaker-shone-his-light-on-bali-20120413-1wyo8.html
It is probably time for another look at where the Balinese culture is today after several decades of modern tourism. Documentaries are not a task for the faint of heart.
As for the SI2K camera system itself, the motion pictures that I know of that it has been associated with have been "Slumdog Millionaire", "127 Hours" and the 3D feature documentary "Cave Of Forgotten Dreams." On the two features, the SI2K system was not used for the entire projects. These were also shot partly on motion picture film. For the horror feature "My Bloody Valentine", I believe the SI2K was used for the entire film. I understand that the SI2K has found a niche as a 3D system and in 2D work as a supplementing camera. Its small form in the tethered Mini configuration permits use in tight spaces and as an agile camera.
Here is a BTS clip I found on youtube of the SI2K in its guise as a traditional production camera.
http://www.youtube.com/watch?v=ZG8__qLhUZI
The narrator on this production makes unhappy comments about the touchscreen monitor which is one of the controllers for the camera.
I observe it was being hand held by an assistant and a separate high definition motor was mounted on the noga arm on camera. The RED cameras have HD-SDI out for on set monitoring on larger screens. HD-SDI is not available on the full body version of the SI2K. There is a HDMI port but we have not routinely used it ourselves as it involves one more cable to fret about. The Cinedeck and 1Beyond tethered recorders apparently have HD-SDI.
An interesting trick with the SI2K is that you can hook up two touch screen controllers and control from both. It gets interesting when two operators try to work it at the same moment.
I observe that the crew did not appear to be using the audio inputs to the camera, so they must have been shooting double system and slating. There is a run button on the left side of the camera and a remote trigger can be connected to a port on the right side.
The camera will power an ENG-style B4-Mount servo lens but the run button on the lens will not control the camera. The large box lenses used for sports cannot be powered from the camera as the power draw during their calibration process is too high.
According to the notes under the vimeo clip which is linked on youtube, a RED camera was also used on this shoot.
The RED camera family has achieved much greater penetration of mainstream motion picture production. Those of us who own SI2K cameras lived in the hope that one day there would be a 2K 35mm sensor version of the mini head which would swap into the recorder body. I don't think this will happen with so many 35mm format electronic cameras now available.
http://www.youtube.com/watch?v=YOaLguljP2A
I think he also visited after Bom Bali to examine the situation of the Balinese survivors. Sadly, John Darling is no longer with us. He passed on this year.
http://www.smh.com.au/national/obituaries/filmmaker-shone-his-light-on-bali-20120413-1wyo8.html
It is probably time for another look at where the Balinese culture is today after several decades of modern tourism. Documentaries are not a task for the faint of heart.
As for the SI2K camera system itself, the motion pictures that I know of that it has been associated with have been "Slumdog Millionaire", "127 Hours" and the 3D feature documentary "Cave Of Forgotten Dreams." On the two features, the SI2K system was not used for the entire projects. These were also shot partly on motion picture film. For the horror feature "My Bloody Valentine", I believe the SI2K was used for the entire film. I understand that the SI2K has found a niche as a 3D system and in 2D work as a supplementing camera. Its small form in the tethered Mini configuration permits use in tight spaces and as an agile camera.
Here is a BTS clip I found on youtube of the SI2K in its guise as a traditional production camera.
http://www.youtube.com/watch?v=ZG8__qLhUZI
The narrator on this production makes unhappy comments about the touchscreen monitor which is one of the controllers for the camera.
I observe it was being hand held by an assistant and a separate high definition motor was mounted on the noga arm on camera. The RED cameras have HD-SDI out for on set monitoring on larger screens. HD-SDI is not available on the full body version of the SI2K. There is a HDMI port but we have not routinely used it ourselves as it involves one more cable to fret about. The Cinedeck and 1Beyond tethered recorders apparently have HD-SDI.
An interesting trick with the SI2K is that you can hook up two touch screen controllers and control from both. It gets interesting when two operators try to work it at the same moment.
I observe that the crew did not appear to be using the audio inputs to the camera, so they must have been shooting double system and slating. There is a run button on the left side of the camera and a remote trigger can be connected to a port on the right side.
The camera will power an ENG-style B4-Mount servo lens but the run button on the lens will not control the camera. The large box lenses used for sports cannot be powered from the camera as the power draw during their calibration process is too high.
According to the notes under the vimeo clip which is linked on youtube, a RED camera was also used on this shoot.
The RED camera family has achieved much greater penetration of mainstream motion picture production. Those of us who own SI2K cameras lived in the hope that one day there would be a 2K 35mm sensor version of the mini head which would swap into the recorder body. I don't think this will happen with so many 35mm format electronic cameras now available.
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