F Bulgarelli

Hello I'm looking for suggestions on how to create a lighting effect, a fire flickering effect on someone face, it could be over stylized, we dont need to see actual flames, the idea is a firefighter in front of menacing flames I'm gonna experiment with various gels like ambers, yellow and reds crumbled together and using a light such as a mini mole shooting thru Any ideas or suggestion are greatly accepted thanks

Thanks David. Good point you are bringing up, I'm color correcting a small feature right now, we shot with the Epic and sometimes I wish we had a little film grain there, I asked the colorist to add some just to check it out and did not like it, I think our eyes are getting use to the sharpness of digital. I do feel like, shallow depth of field is still the most filmic characteristic I want to keep aiming for ;)

Hello all I have a question regarding ISO on these cameras, generally speaking manufacturers recommend to rate these sensors at 800, during daylight situation I've come down to 500, mainly to give myself a little room so I can minimize (a little) the amount of ND used. In terms of latitude, 800 seems to be the sweet spot. I just read an article on Arri news where the DP was rating the Alexa at 200 ISO, these are heavy day exterior scenes. I'm curious as to what pros and cons you could encounter changing the native ISO so drastically. Mainly, In terms of holding the highlights when shooting exteriors or even noise increase at super high ISO like 1600 Most articles I've read mention the Alexa or Epic being rated at 800ISO Thanks Francisco

Hey David Hope you are well Why did you pick the Alexa vs RED, I noticed you had done some work on the Red earlier. Also, was the pilot shot on film? Or Alexa as well? Thanks Francisco

Hello I might be shooting with the Scarlet and wanted to know if anyone had any feedback about it. I have used the Epic and Red one plenty but not the Scarlet, do you guys feel that it has similar or same dynamic range as the Epic or Red One. Thanks FB

Hello Does any one have experience transferring footage from a surveillance system so that it can be used with FCP It's suppose to be H264 but the files come up as a series of numbers plus .264 at the end (no H) Really weird Any help is appreciated Thanks Francisco

Hi Please check out my website www.franciscobulgarelli.com thanks

Thanks for you input So many people shoot with these cameras, I'm surprised there isn't more input Keep it coming Thanks!

Hello I'm sure this topic has probably been discussed before, I was curious as to the different methods people have to figure out the exposure on the 7D or 5D I've been relying on the histogram, although, not very accurate, also, use the internal camera spot meter on a 18% chart as well as taking a still and analizing the data I'm wondering about any other methods people might have to come up with a good and consistent exposure Thanks

I havent shot with the Alexa yet but if you sre able to record LOG and monitor 709, could the playback guy maybe run a signal straight from the video village monitor (709) and record (709) into a drive or some other recording device so that production has "color corrected" dailies?

yeah, that's about how far we were able to take it, could not recover much green

Thanks Keith here is the still, I do think that was the problem.

Thanks Adrian I'm starting to think that that was the problem. Regardless of what the answer is, I've been shooting RED for a while and never had a problem, maybe there was a funky filter combination that created the problem. Here is a still

Hello Has anyone had serious issues with IR contamination using the Epic? I did a music video and when we got into the color correction stage realized that we could not get enough color saturation out of the images RED has been looking at the R3D's and seem to think that we had issues with IR We are still trying to determine the cause and was curious to find out if anyone else had issues like that. Basically, the image looks desaturated and low con, looks like a Raw image (that 's why it slipped thru the cracks) when we got into color correction the timer had to crank up the saturation to 200% in order to get some saturation but not enough to get strong dolors, specially greens any comments or advice are appreciated thx

I'm shooting with the Epic and as part of the package we have the small batteries that go inside the handle, I have 8 of them with 2 chargers Should I be worry about making the day. It's a regular 5 page day Does anyone have any experiences using this batteries Thanks Francisco

I need a RED EPIC package in San Antonio TX 1 day shoot on Sunday the 21st Thanks

Been talking to the head of the digital division of the lab and there is a strong chance we will be able to re do most of those shots good news

very few prints for now, just trying to screen at some festivals, obviously we want it to be the best possible b&w is such a rare animal that it makes me realize that we should look into those other details you are mentioning, like sound for instance, make sure that all those technical issues get taking care of, for festival and private screenings another solutions is to do an hd transfer right now and forget about the print for the time being, we will have no problems then. although, would love to see an anamorphic print here is our FB page, please check out the photos, this was an amazing experience http://www.facebook.com/pages/The-Ghastly-Love-of-Johnny-X/130697526971675?sk=photos we had Creed Bratton (The Office), Kevin Mccarthy (who recently passed), Reggie Bannister. Awesome cast.

Thanks Karl I think it might be a new print stock http://motion.kodak.com/motion/Products/Distribution_And_Exhibition/so302.htm I'm still trying to get more details I was out of the loop for a bit, busy with other projects. I believe the lab should have guided the post production team in a better way. I don't understand how they could think that these shots could have intercut together, the differences are very drastic.

Good story about Conrad Hall, I admire him and his work

Thx again, that's very useful I think for the most part I got the contrast where I want it but there are a couple of places where is bugging me a bit, and now we have to deal with the fx shots, the disparity on those shots is huge. I think we ll make it work, it is just annoying knowing what's possible thru the DI now days. Fo r this film, a DI, would be more than ideal, we have footage from 6 years ago that it's being mixed with stuff we shot last year. So we could do separate reels for those tricky scenes and then they can splice them together? right? That might be the best approach. I'll talk to the lab tomorrow I appreciate your help.

Thx again David, What would you do if you had a scene where you would like to have more contrast during printing?

Thanks David, I'll know more in the next few days, that could be the right approach I'm encountering a situation where I'm been told I have very limited manipulation of the contrast, printing optically. I havent done a lot of printing, I do know that our print stock will be quite contrasty, 2302 I believe. I want these film to have rich blacks and contrast but at times I'm been told they can only manipulate brightness, Am I missing something here? I would appreciate any insight Thx David

We are doing post on a B&W feature I did and we are encountering a difficult situation. We have some fx shots which a gamma curve was applied to, in order for the fx guys to get a sense were they were going with the look, it is much more contrasty than the original footage and much worse, it's been conformed with the original negative ;-/ now we have shots within the same scene that are not going to match when we do the print. I'm recommending to scan all the shots within those scenes in order for it to work. I can't think of any other solutions, in my opinion, it is the only way it should have been done form the beginning. We just had a miscommunication. Any thoughts and advice is really appreciated. FB