F Bulgarelli

Hello there From what I'm reading. Would you guys say 46 is the closest match to 45 of any stock. I really like 45 but for my upcoming music video I need more speed so I was debating between 45 and maybe 18, just because is even faster and has very little grain. Also, I should mention, we are shooting super16. Thanks Francisco Bulgarelli

Hello Does anyone know any producer or agent that might be willing to take a look at my reel and give me some feedback on it? I just would like to get some opinions before I even try to send it out. Thanks Francisco Bulgarelli

I tend to look at individual films and the dp that shot them as suppose to just the dp himself. In other words,it is usually the overall quality of the film that makes the biggest impresion on me and the photography is definetely a great part of it. Midnight Cowboy- Holender Touch of Evil- Metty Elizabeth- Aderafasin Requien for a dream- Libatique Thin Red Line- Toll The Deer hunter- Zsigmond Days of Heaven- Almendros Persona- Nikvyst Blade Runner- Cronenweth I am Cuba- Urusevsky Godfather I and II- Willis Cold Mountain- Seale Raging Bull- Chapman The Man who wasn't there- Deakins Well, this list could go on and on... Francisco Bugarelli

I have to say Mr Mullen did great work on Northfork. I like the interiors in K-pax, and don't forget Blade Runner. Also "The man of elysian fields" has some great interiors, somewhat stylized but very appropiate for the story. Francisco

Any thoughts Mr Pytlak?

Hello everyone, I bet this subject has come up before. Is there a general consensus as to what stocks offer the highest color saturation. I know it could be subjective. I personally like 5248. Haven't worked with the Fuji stocks. What do you guys think? Thanks Francisco Bulgarelli

To answer your question, I'm a bit concerned that with such a slow stock it's going to be difficult to get the mood I want shooting a T4 with 64ASA stock. This scene should probably be shot with a 400asa stock at a T2.8. My hope is to get a similar result by printing down. Like you said it's a matter of testing and finfing your printer lights. I don't want to push the optical quality of the anamorphics, it's better if I can stop them down to a T4, at least. I'd imagine, in the past, 1930's and 40's. With such slow stocks then, printing down was common practice, would you agree with that. I'm thinking Citizen Kane, Touch of Evil, etc... Thanks David Francisco

Hello everyone. Here is the scenario: 35mm anamorphic B&W. Plus-X stock. A bit of smoke. Dark room. A judge and a convict. Very directional, shafty light from above. Little fill. Noir. I want to stick to the Plus-X. I'm thinking to shoot at a T4. Overexpose the faces by 1 or 1 1/2 stops or so. I want to be able to print it down so that it looks dark and contrasty with those shafts of light taking over the room. I'm choosing T4 because of being anamorphic and with that stock it'll be pretty bright. I want to make sure I can make it look dark by printing it down. From you experience, how far can you go printing down? I would appreciate any suggestions, Thanks, Francisco

Hello everyone Has anyone have any luck with certain magazines or websites when looking for dp jobs? I know about craiglist, is there any others that you may suggest? Thanks francisco Bulgarelli

Hi Guys, Well, the push was a matter of incresing the speed of the stock since we were working under very low light. In other words I rated it at 400 ASA as supposed to 200 ASA and then pushed 1 stop. After we timed the footage we realized that it was too contrasty for what we wanted and so we brought it down. 7222 is the 16mm format equivalent of 35mm 5222. What really impressed me about 7218 was how clean it is. I think it has brought super16mm to a different level. The days of grainy 7279 are over unless that's what you are looking for. Francisco

Hello. I did a music video in which we shot 7222 pushed 1 stop for the storyline and combined it with 7218 dialing all color out for the footage of the band. Furthermore we reduced the contrast on the 7222 in FCP. I think it intercuts interestingly from grainy (7222) to clean (7218). You can check it out at prettypictures.com/franciscobulgarelli The name is Budhi Brown -death is a flower-

Hi Eric On which lenses did you notice the distortion? hi David, When you say the city light weren't registering well, what exactly do you mean? Thanks Francisco

Interesting that you say that MItch. I work for Clairmont and saw those Hawks going out on Trainning Day. Maybe we are talking about the same lenses. Francisco

Thanks everyone, I'll be using the Hawk lenses from Clairmont. These lenses are very good, there is no way for me to compare them with the Panavisions but I feel confident they will perform well. They have minimal breathing and have good resolution. Definitely I can see how those wide lenses might need a higher stop. "Trainning Day" was shot with Hawks and looks very nice. Shooting Plus-X (ASA 64) on day interiors I'm a bit concerned about getting the stop (T5.6) but the look calls for a good amount of light anyway. I'll be doing some tests. Do you guys have any experience using filtration for B & W film. You know? Red, green, yellow filters and the like. Any recent anamorphic films films you would reccomend watching? Thanks Francisco

Hello everyone, I'm getting ready to shoot a project on anamorphic and wanted to ask for any advice that you guys could give me as far as your experiences with the format and what to watch for. I'm aware of the issues with the lenses as far as Depth of field and fall off is concerned. It'll be my first anamorphic project and I'm looking for all the advice I can possibly obtained. Thanks a lot, Francisco

You can check out my work at: prettypictures/franciscobulgarelli.com Thanks

Hello everyone. Does anyone have any experience with 7222 pushed 1/2 or 1 stop. I would like to use this stock for an upcoming music video but need a faster speed. How is the grain/contrast/blacks when pushed? Thanks Francisco

Thanks for all the info. What do you guys think of 7222 pushed 1/2 or perhaps 1 stop? I think I will need the speed, plus the director wants some grain. Does any one have any experience or knowledge with this stock? I'll definitely do some testing but I thought you might have some input. Thanks

A good reference is "Molin Rouge" which (I believe) was shot with the 35mm equivalent 5279. That shows you how the combination of stock, costumes, production design, make-up, etc, works together. Plus some digital manipulation. Great film!

Talk about focus problems. There is a few shots in "Lost in translation" that are reallly bad.. You can tell they were probably shooting wide open. I know Lance Accord likes to use available light or minimal lighting set-ups. It's too bad that happened because I think is one of the best movies I've seen all year. It makes you wonder if one should push it that far. Francisco

What do you guys think of using a Polaroid B&W or maybe even a digital camera with B&W settings to check for contrast and gray rendition from different colors. Wil that be reliable at all? Thanks Francisco

Thanks Mitch. In your opinion, what considerations (if there is any) I should take with the lighting knowing that we are exposing color negative but will end up with a B&W image. Everyone's input is appreciated. Thanks

Hi Everyone I'll be shooting a music video on Super16 and wanted to ask for advice on a couple of matters: It'll be B&W with perhaps some digital color manipulation during the post process by adding color to one of the elements in the image, like for instance, Blood. We are debating wether to shoot color and then desaturate or use B&W all the way. Do you guys think it makes a difference? I'll like the idea of B&W so that we'll be thinking in those terms throughout the shoot but there is more flexibility with the color stocks. (Speed, choice, etc) Also, what do you think of 7222 for low key interiors. We want some grain but also a slick, contrasty look with strong blacks. Thanks for your input. Looking forward to a great 2004!! Francisco