F Bulgarelli

To all of you: THANKS! This is very helpful, I'll let you know how the test went.

Thanks guys, this is tremendously helpful. I'm thinking that one option for me is to cover up the units closest to the actors and leave the ones in the background on, we'll always have the sodium vapor reference but never will interfere with the key, except for the spill, which I guess could be bad. we'll see if I can make that work. Are these lights going to flicker? I'll be shooting with an SR2, mostly 24fps and a 180 degree shutter. Francisco

Hello everyone, I'll be shooting a low budget feature that involves a great deal of sodium vapor lights, it will be impossible for us to correct this fixtures, so I'm thinking about just matching the tungsten units to the sodium vapor lights and then remove it in post. It seems like there are different ways of going about this. What film stocks would be more appropiate for this kind of situation, I know that there is a Fuji stock specially designed for mixed light situations like this. I would appreciate any tips or advice. Also, any lighting/gels recommendations for a test will be appreciated, regards, Francisco

anyone out there with any info on "The Apartment" David?? I was watching it today and my conclusion is: It's one of the best films ever made. (period) I'm sure the rest of the world agrees. Eventhough is pretty high key, I liked what they did in the bar scenes and then the simmetry of the work area, with all the workers in perfect straight lines. Classic! fb

Thanks Nate, One of our main references is The Apartment, which coincidentally is an anamorphic film. Does any one know what was the speed of panavision anamorphic lenses in 1960? I wonder if they use PlusX stock for the night exteriors and interiors or if even existed then. what we have shot so far didn't involved night exteriors and that's one of my main concerns, I'm thinking about testing 5222 again, eventough I recall it being a bit too grainy. Any suggestions? Regards, Francisco

Thanks Guys, here is the trailer for you to check out. http://www.johnnyxmovie.com/trailer/trailer.php This is a sort of retro science fiction (if there is such a term) comedy/musical that takes place in the 50'-60's about an outer space gang that is sent to earth as punishment for their criminal behavior in their planet. Pretty bizzard, I know. Please let me know your thoughts. regards, Francisco

Hello everyone, I'm finally getting a chance to shoot my first feature, it's a really cool project, black and white anamorphic, we shot some stuff a few years back and the director is finally getting the financing to finish it. I wanted to ask for advice from feature DP's, what kind of process you go through when getting ready for your feature and during the shoot. I feel like one of the most difficult and important things is to maintain consistency during the process, is there anything in particular you do to help maintain that consistency. Any advice will be greatly appreciated. Francisco

Hello Nicholas, I'd be interested, please check out my website and let me know, prettypictures.com/franciscobulgarelli my email is bulgarelli@sbcglobal.net regards, Francisco

Thank you guys. Those are good pointers, I need to do a bit more research. I'm definetely going to use plus x, that is if we go with b&w. Anyone out there with some experience shooting plates.

no I haven't since we are shooting the entire film in b&w, any particular reason why i should?

Hello everyone, We will be shooting some background plates in black and white for a feature film. I'm concerned that we are not using any type of gyro stabilizing system and could get a lot of jumping footage. Also, we want to do some night as well, I was thinking that since this is a period piece we could shoot at dusk, expose it normally and then print it down, like they did in the old days to get the night look. Another option was to use a day for night filter. One last thing, I understand that when you do shots from the side, it's necessary to slow down the speed of the car because since those shots are tighter the speed will appear faster to the eye when rear projected. Any advice or suggestions are greatly appreciated, Francisco

Hello Adam, Thanks for your kind words, It's interesting that you were able to decipher the story of Broken just by looking at the few clips that I have there, it gives me a good feeling and I should give you credit for being a good observant of the film. Broken has played at 20 festivals or so, including festivals in Cuba, Peru and Italy; it has had a good run and we are very proud of it. The color correction was done during the film transfer, we knew we weren't going to go to a print and basically desaturated the colors to what we had envision from the beginning. Earth tones, contrasty and a bit grainy. We also shot B&W for the opening shot, that's 5222. Thanks again, Francisco

Thanks Morgan, really good point.

Get well soon John. Praying for you.

Hello everyone, Please check out my new website. I'm using Adbeast for the streaming and I'm very happy with the resolution and speed. Constructive criticism is more than welcome. Thanks Francisco I guess it woulp help if I give you the link....sorry http://prettypictures.com/franciscobulgarelli/

I have an older 3x wide angle zoom from the XL1 that seems to work pretty well with the new XLH1, I'm aware that there might be some resolution issues bus has anyone use the older lenses on the new camera. Thanks for your help

Does anyone know who might rent them in Los Angeles? Thanks

Did anyone see "Idlewild"? Great photography, I'm curious to know if they did a DI, at least in part of it. Very entertainning as well.

Does anyone know who photographed Beyonce's Naughty Girl Video. Good looking video. Check it out at Anonymous Content- under director Jake Nava

Hello Claudio, I'm curious to know; being a period piece, was film ever a consideration? Are you going for a very particular look and were you able to define it through tests using the viper and DI? Thanks for all the info, Francisco

I have a friend that swears eye surgery is the best thing in the world and could change your life forever. This is something i'm considering. Just imagine, not having to remove your glasses everytime you are operating a film camera. Was wondering if anyone has any personal experiences, francisco

Thanks John, I would like to see the stills.

Hello everyone, I've met some dp's who tend to push the film to obtain higher color saturation and contrast but without really underexposing the stock. as a matter of fact sometimes they are actually overexposing and pushing at the same time. I've notice this method specially for commercial work. My approach has been to increase contrast or saturation during the transfer but i've been thinking about trying it in camera. i'm talking strictly for the small screen. I was wondering if anyone had any experiences or suggestions they would like to share, thanks francisco

I'll be shooting a project with the F900 and i was considering using the Pro35, however, i'm a bit concern about issues with seeing the ground glass grain when projecting on a big screen. I'll be using the zeiss T1.3's and plan to shoot almost wide open. Has anyone have any experience with that particular configuration. Any help is greatly appreciated, francisco

i went to see the movie last night and was very dissapointed. i don't believe the DI looked that good, a lot of flat footage and at times just plain dark. personally, i believe DI is being overused these days. not reallly much "NOIR" in it. Also, there were a couple of scenes with pretty bad strobbing, perhaps the camera was too close to the actors and panning too fast. and don't get me started wih the story... francisco