F Bulgarelli

Thank you. That was really useful. Francisco

Hello there, Does anyone remember where to access any info on the cinematography of BMW's Powder Keg? I recalled seeing a detailed article about the techniques Richardon used on it but can't remember where. Any help will be greatly appreciated. Thanks Francisco

Hola Rodrigo, At Clairmont we have a great variety of Super16 zooms and primes. I think the 11-165 Canon is a great lens. Very sharp and compact, with a great range, it's probably our most popular lens. That will match well with a 7-63 or 8-64 canon, also great lenses. Also we have some of the Elite/Optar lenses like the 4.5mm, 7mm, 8mm (which cover super 16, contrary to the old zeiss 8mm which will only give you as much as 1.78), 20mm, 35mm. These lenses fill in the gaps when combine with the zeiss speeds which are 9.5, 12mm, 16mm, 25mm and 50mm. when are you shooting the 16mm part of your film? Saludes, Francisco

Hello there, Has anyone had any experience going Deluxe's ACE, CCE route and testing different print stocks. It seems like that Agfa stock is worth a try. Any tips will be greatly appreciated. Francisco

Hi again, Yeah, it does look kind of green. I'll find out the exact model and let you know. The rear of the device clamps onto the taking lens (like a zeiss t1.3) on the camera and then you mount nikon lenses in front of it. You could call on monday if you prefer and I can let you know the model right then. Chao

I was just watching the film "Down by law" shot by Robby Muller. I was fascinated by the overall photography and the fact that those night exteriors didn't look that grainy to me. Perhaps is the transfer but it looks realy nice. Does anyone have any info on how he shot this film? any info will be greatly appreciated. Francisco

Saludes Rodrigo, At Clairmont we have a device called Spy FX which allows you to shoot with no light whatsoever. It gives you a similar effect than the night vision devices used by the army. You might want to test it. Francisco

Hello forum. I have my reel on minidv and would like to transfer it to dvd. What do you guys think is the best way to do that so that i can achieve the best quality possible regardless of price. any suggestions will be greatly appreciated, Francisco

Thanks David, How about mixing print stocks. I guess they would have to splice them together. It's for a short film so we are only making a few prints. Has that been done? Thanks again

Hello forum, Does anyone have any experience shooting b&w neg. stock (5222) and printing on color print stock. Is that feasible? any comments or advice will be greatly appreciated, Francisco

I think Robert Richardson is an amazing cameraman. However, eventhough Aviator was a very good film I believe that some of the things they did as far as the look is concerned seemed self-indulgent and more importantly, distracting. I mean...how Am I suppose to get into the story when the grass on the golf course is some kind of BLUE, if I remember correctly. It's pretty and looks very close to those old technicolor movies but what's the point if the story doesn't grab you. To me it was over-stylized and a bit too long. Just my humble opinion.

I just watched "The Making of Fanny and Alexander". It's a documentary shot during the production of that film. You can get it through Netflix. I'd recommend this film to anyone, specially those who like the work of Bergman and Nyvkist. Check it out. Francisco

Whao! This is more info that anyone could ask for. Thank you. One of the things I really like about your work in this film is the use of color, there is a certain structure to the color scheme that keeps things cohesive and interesting at the same time. After reading your article I can see how a great deal of preparation went into the work. I understand what you are saying about how flashing and silver retention cancel each other out since they are almost the opposite of each other in a sense, how does the CCE alone (without the flashing) would have looked, based on your testing. There is a scene I particularly enjoyed. It is toward the beginning of the film when she is giving one of them certain medicine, then there is a lapse of time emphasized really well by the hard sunlight coming through the window and edging the actress. Nice work! Francisco

Hello Mr Mullen, I just watched Twin Falls Idaho and I have to say I really liked the look of the film. You probably have already written about this film but I wanted to ask you a few questions, if you don't mind. What stock did you use? and what was your approach to exposure and processing. I really like the variety of approaches in the lighting as far as contrast ratios and the use of hard and soft light, there is certain softness in the overall lighting that works perfectly for the subject matter, can you talk about your lighting approach? Thanks a lot, Francisco

Hello there. I own an Arri 2B. I've had good luck with the camera. The one thing you need to remember about 2B's and 2C's is that they don't have pin registration, the film is kept steady during exposure by a pressure plate, so in that sense they are not as steady as pin-registered cameras like Arri3's. 435, etc but they still do the job if in good condition. If you are not familiar or have never used this particular camera you should take it to a rental house and have them service it for you. it will cost you some money but it's worthy. Hope this helps, Francisco ]

Has anyone shot or tested the DVX100 with green screen at different frame/shutter settings. I'll be shooting a test and I was thinking It might be a good idea to try different shutter angles to look for a way of minimazing blurr. Also, shoud we shoot 60i or do you think we can benefit from 30p or 24p. Thanks again, Francisco

Thank you all. Adam, what do you mean by "maximize camera orientation" John, I'll push for the dvcpro50 Francisco

Well, my music video just went from the varicam to the DVX100. Has anyone done green screen with the DVX100? Any comments or suggestions will be greatly appreciated Francisco

I think Caleb Deschanel did some amazing work on "The Patriot", some of those battle scenes on super35, grainy and desaturated, looked like an old painting. I wish I had some stills. As far as Barry Lyndon, the famous candlelit scenes are as magical as it gets when it comes to the art of filmmaking.

E.T. They'll get a kick out of that one. (or maybe they'll be offended, who knows!?)

Thank you all. Atavist, I understand what you are saying about thet green screen benefits, in which cases a blue screen is more suitable. Thanks

Hi David, Great work! How much flashing did you use? Was it to lower the overall contrast? Also, what kind of diffussion did you use? Thanks a lot, Francisco

Hello everyone. I was wondering if someone could give me some hints for lighting and shooting green/blue screen. I will be shooting a music video on 16mm that involves a lot of green screen. It will be my first time doing something like that. What should I look for? Should I do green or blue screen? Any help will be greatly appreciated, Francisco

This is grea! Thanks a lot David for posting and commenting on all this examples. Francisco

I did a B&W shoot in which we combined some HMI units with tungsten units, and you could definetely tell a difference in the shade of gray, I suppose that could have more to do with the light output but perhaps also with the film response to the sources color temperature. Francisco