F Bulgarelli

Sorry, this is the other shot,

Like David says, the main limitation with B&W stocks is the speed. I've pushed 7222 1 stop which added some grain but it worked for the look we wanted. Here is a couple of shots: The close up of the girl is 7222 pushed 1 stop and the close up of the sax player is 7218 desaturated.

Hi Mike, Yeah. I'm talking about the whole flashback sequence: It shows the couple getting married, the wife dying, him selling his land. Very nicely done. Some of it is slowmo so maybe even water could have done the trick, also at times it looks like they placed a prism or something like that in front of the lens to create difraction. I'll look up the article. Thanks Francisco

Check out Plum productions website. Vittorio Sacco. Great stuff! Francisco

Hello everyone and Happy New Year! Does anyone know how the flashbaks in this film were done. It seems like they used several techniques, it gives the images a very organic look. At times it looks like they use water or oil dripping down the lens, in other shots it looks like they put a prism in front of the lens. Anyway, it's very nice. Any help will be greatly appreciated, Francisco

Arri lighting kit available for rent. $100.00 a day/$150.00 for 2 days (plus proof of insurance) It contains: 1- Arrilite 1000 with chimera 2- 650W Fresnel 1- 300W Fresnel Barndoors, scrims and stands. Carrying case Los Angeles, California Contact: Francisco Bulgarelli at 626-226-7762 or at bulgarelli@sbcglobal.net

Hi David, Regarding "Shoadowboxer". What was the end result as far as pushing the film 1 stop? Did you like the results? Francisco

If you have shot a series of projects, either for yourself and/or other people then I believe you could call yourself a DoP or maybe better, cinematographer. How good or bad the work is, that will be for other people to decide. I think it would be kind of demeaning to yourself as an aspiring profesional to label yourself "beginner Dop" or "Apprentice cinematographer" on your reel. No one will hire you. Francisco

Tony, Do you have a clip that we could chek out? I'd be interested in seeing what it looks like. Thanks Francisco

Thanks Greg. we were going after a sort of noir look but more modern for the band (being a music video) combined with a more grainy look for the storyline, that was shot with 7222 pushed 1 stop. If you would like to watch the whole thing please go to: prettypictures.com/franciscobulgarelli and check out Budhi brown- Regards, Francisco

Hello I shot this music video with 7218 and desaturated the colors in post. We were going for a b&w look and got really good contrast. also, this stock has very little grain. FRancisco

Hi I like Almendro's book, if I could just get a hold of some of those films he mentions in the beginning of the book. I still think that "Masters of Light" is one of the best books out there eventhough it's not autobiographical. Also, check out Principal Photography. Some of my favorite Dp's are featured there: Adam Holender, Don McAlpine, Fred Elmes, Gordon Willis, Conrad Hall, Allen Daviau. Great Book! And for more straight forward technical info. definetely read Film Lighting. Francisco

I forgot to say that the Kinos were daylight balanced. (I'm sure most of you knew that)

I created this shot with a small kino flo as the motivating light from the monitor. Also there was another small kino behind the computer briging up the curtains. Also a 150W tungsten flooded and with diffusion bringing up the shoulder in the acctres. Used 5279/T2.4 Francisco (I'm hopping the attachment worked)

Thanks for sharing your work Demian. Great eye. Is this all reversal (slide) film? I'm just curious to know why you desaturated the color. Also, as a rule of thumb, you want to overexpose 1 to 2 stops? Thanks again, Francisco

That guy is definetely super talented, my favorite film of his is Traffic. Anyway, He must have a very talented gaffer as well. Does anyone have knowledge of his lighting technique. Francisco

Thanks, that was helpful. Francisco

Check out my modest work at: prettypictures.com/franciscobulgarelli

Thanks David, Your technique sounds lie a good idea. Do you mind if I try it? francisco

Hello forum, Is it possible to blow up super 8 negative to 35mm? Has anyone here done it? what does it look like? I'm thinking about shooting a section of a 35mm short on Super 8 and then do the blow up to 35mm as a part of the whole piece. We will be going to a release print. Thanks fo your help, Francisco

I was watching "Winter Light" the other day. A perfect example of excellent static camera work. Sometimes movement can be used as a sort of "bridge" that enhances transitions between different scenes in the story. Movement is as much a part of the cinematic vocabulary as non-movemet, the trick is how and when to use it. Francisco

Hello Does anyone have or know of any clips online that show the cross processed look. Thanks Francisco

Thanks Dominic, that's really useful. So, are you saying that there could be considerable savings going with 16mm for a 35mm blowup as suppose to staying on 35mm? I'm sure this is an old dilemma.

Hello Does anyone know where I could find some info on "The Machinist". How it was shot, stocks, lenses, post, etc Thank you

Hello everyone, Can anyone comment on an estimated cost (average) of a super 16mm blowup versus 35mm all the way to a release print. Thanks Francisco