F Bulgarelli

Hello everyone, I'm looking to update my reel and want to go straight from digibeta masters to edit and then out to dvd. I'm just trying to get the best image quality possible. Does anyone have any good editors to reccomend that could also give me that kind of workflow. Thanks Francisco

Michael Seresin seems to be a big influence on me lately. Midnight Express and Angela's ashes are IMHO visually amazing films.

I would consider the older zeiss t2.1's or the t1.3's. I know people praise the S4's which are fine lenses but I find the older zeiss a bit softer to the eye while still maintainning good resolving power. As long as you have a good matte box and hard mattes you don't have to worry too much about flare. Francisco

I seem to remember "A Very Long Engagement" having some really interesting stuff. Francisco

Hello everyone, I'm curious to know your opinions as to what's the best work that has been done, as far as hd is concerned. I'm talking mainly about non-cgi narrative works that have been released in theaters. Any personal favorites? Any opinions will be greatly appreciated, Thanks, Francisco

They did extensive testing before principal photography, comparing our anamorphics with panavision's. They used the Hawks, as well as the clairmont anamorphics, probably for steadycam work and also took out a 36-200 cooke and a 50-500 Ang. Francisco

I'm in. I have a small arri kit I can bring along. Let's do it.

Hi David, Having done so many features, why did you wait so long to get in the union. Any particular reason? Francisco

Which HD feature did you shoot with digiprimes? Also, which of your HD work are you the most pleased with. What about other DP's? Thanks again

Thanks David, very useful. Do you find yourself working differently if the project is a film-out versus straight to video. I've never done a film-out from hd footage, Are there any other variables that you have to keep in mind. Do you ever shoot wide open. I would like to test that scenario, perhaps with the digiprimes which I think are the fastest out there. Thanks

HI David, How do you keep consistency from shot to shot if you don't use your lighting meter. Wouldn't you want to keep a consistent stop as you go through your set-ups within the same scene. Consistent meaning within a certain range. Do you just go by the waveform? Francisco

MM Smith camera equipment came out of Clairmont Camera. We have several sets of the cooke panchros. A combination of series 2 and series 3 lenses which were rehoused by century optics to make them more user friendly. (Larger barrels, easier to read footage marks, ect) Some of them were modified to reach more close focus. Eventhough the lenses are old and the coatings are starting to deteriorate, they go out all the time. When compared to the S4's, the panchros show noticiable softening, specially around the edges, more flare and less contrast. I can see how they could be good for certain close up work but definitely would be concerned with wide shots. David, isn't true Storaro also owns one set? Which films did he use those lenses for? Francisco

Also, you can always light it flat and increase the contrast later in post if you wish. If you have time, shoot a test. You will be surprised as to how much flexibility there is, specially if it's something going straight to video. Another option is to get a large, punchy source and bounce it off the ceiling. Francisco

Thanks Algis, I hear what you are saying. It might be a bit too busy. I'm considering having 2 separate reels, one for music videos, etc and the other for narrative stuff. Thanks for your input. francisco

Congratulations David, Great work! I think that most times trailers are kind of misleading (and noisy). I'm looking forward to seeing the whole film. There is some shots with a bit of difussion, you see it glowing in the highlights. Is that your filtration or is it post? Francisco

At Clairmont Camera we have 1 Arri2C hand cranked. I'm not sure how much it rents for but feel free to call 818-761-4440 and ask someone in rentals. Francisco Bulgarelli

Thank you all for your replies. Please keep them coming. Sounds like I should definitely make some changes, it is easy to get a bit overindulgent with your own images. Maybe I should get a good editor to work on it. NAO- The diner footage is all Plus-X B&W stock shot with anamorphic lenses. Let me know what other spec questions you got. I didn't operate the steadycam shots but I can give you the operator's name if you like. Thank you all for the positive comments. Francisco

I saw Crash a few days ago and I have to say I really liked the overall approach to the cinematography, very loose I would say, a lot like 21 Grams in my opinion. I had a few problems with the story but it does make you ask yourself: Does this really go on in our society? and the obvious answer is Yes! However I think it is hard to see it magnified to such extreme. The opening footage for the titles was great. Francisco

I shot a test in which we pushed 5222 1 stop rating it at 400asa and then printed on color stock. I thought it looked great for what we are trying to do. grainy, contrasty and with lots of texture and shadow detail. It also had a sort of bluish-greenish hue to it, which I'm still not sure why that is, perhaps the dyes in the color print stock. Can anyone elaborate on that? Francisco

Thanks for your input Sebastian. Some good points there. You are right about the steadicam observation, maybe I'll spread it around and cut it a bit more. I'm not a steadicam operator but have used the same guy for a lot of the stuff. Thanks again, Francisco

I just updated my reel and wanted to get some feedback. Please take a look at: prettypictures.com/franciscobulgarelli Thanks Francisco (it's only 5 minutes)

I think it could be interesting to ask ourselves why are some dps more succesful than others. Many a people could master the craft of cinematography, learning all the technical aspects that involve getting a good image on film or any other medium. What are the qualities of a good dp? From seeing the work of the people I admire, I would say in no specific order: Imagination Creativity Innovation Innate good eye Humility Intuitive Quick thinker Persistence Friendliness Any others...?

Thank you David for sharing all your experiences with us, specially after so much work and pressure during the shoot. It seems like you are using kinos a big deal. Can you tallk a bit as to why that is? Thanks again, Francisco

HI There, we are going through the same process with Deluxe. I did a test to compare skip bleach and their own CCE process using 5279 and 5246 stocks. After seeing the test I think the CCE is closer to the look whe are going for. Their 1/3 skip bleach is not as dramatic as their CCE, perhaps because it's not a full skip bleach. CCE had deeper blacks, more grain and more desaturation. We were actually surprised. Francisco

Congratulations, that was excellent. If anything I found it a bit too long but it seems like you had certain structure all thought out. Perhaps based on the lenght and form of the music? Or was the music composed for the piece? Anyway, that was a treat.