F Bulgarelli

Mathew, The Epic is its own light meter, pretty much. I would not go by a meter but by the internal exposure features of the camera and by the waveform monitor, these are the tools that will allow you to discern your exposure. I use the light meter mainly to keep consistency in between set ups for each scene, If I decide that my overall key needs to be at a 2.8, the meter helps me to stay in that ball park when we are lighting. I find the false color feature very useful. James, I found the camera extremely responsive in the shadow, and felt like I could always bring the exposure down to protect skies or highlights while preserving descent exposure in the shadow area.

Well put John

Mathew, These are lower resolution jpg files so they dont show all the information in the native images. As far as exposure, I opted to crush them further, make them darker and desaturate a bit, maybe that is the hue you are referring to. Francisco

Finished the feature a few days ago. Very impressed with the camera, specially when it comes to latitude. The way it reads into the shadow allows you to control the highlights quite well, almost without compromising one or the other. Still kind of glitchy, just like the RED one and playback still not one of the features but overall, great camera. Did not loose one single frame. I find that when it comes to exposing this chip, it has to be treated very delicately, like a super fast film stock, if you are not careful you will overexpose. I love the new LUT that comes with the Epic, a much more accurate and closer representation of your final image as it relates to where your exposure needs to be. here is a link to some film grabs: http://www.franciscobulgarelli.com/ under IB/Epic stills Francisco

nice frames David, I like the results of the lens baby. quick question: What compression rate did you use on the Epic also, if you were going for a gritty look, would you increase ASA to say, 1200 or 1600 or would you prefer to stay at 800 and underexpose the sensor, I guess in a way you are under exposing either way, I'm just curious about your approach maybe do noise increase in post? this movie I'm doing, we want it gritty and dirty, like Pietro's work with Iñarritu Thanks

Thanks so much David. It's going to be a joy to see this film. Quick question: Do you rely on the cameras internal exposure tools, like false color, which I'm not even sure that the Epic has. From looking at your images, I imagine that the contrast has been upped a bit and the blacks crushed? Is that the case? Would love to see some raw images. Also, I see that you vary your ISO quite a bit depending on your setting, I never went further than 800 with the MX, how is the camera's noise at 1200, 1600 ISO and do you use a light meter? in other words, do you set your lights and stop according to your meter readings at any given ISO? Thanks again, sharing your knowledge is such a blessing for all of us. Francisco

Thanks so much David! I better get started reading your thread. hope you are well Francisco

Hello all I will be shooting with the Epic in the next week or so and it will be my first time, I will have a chance to do a test next week but I was curious to find out any comments or feedback from people that have already use it. Specifically, how it compares with the RED, which I have used quite a bit and also any opinions on the HDRx extended latitude feature; I'm curious about its applications and if it adds noise or any other weakness to the image. thanks so much Francisco

Hello, Hope everyone is well. I'm shooting a scene that involves a moving vehicle with rain fx. It is my first time doing something of this nature and wanted to get advice from people with experience. We can't afford to have a process trailer and will use mounts and hostess trays. Any advice as to what is the best way to pull this off and things to keep an eye for would be greatly appreciated, thanks Francisco

Hi, I find that when you are working with very limited resources and crew, I like to use coves, you take a piece of show card and bend it into a cove, holding it togehter with paper tape, it makes for a nice, semi-controled source that gives you a very nice, soft light. You can also tape some bleached or unbleached muslin to the card and it is even nicer. Hope that helps, Francisco

Hello I'm seeing some banding and blotches when I compressed the Red footage. Some of it looks like rainbows on a wall and the faces are a bit blotchy. We are working directly from the raw files, transcoding to pro-rez. We are using the MX, build 30. Never had this problem before. Someone told me that I just needed to deinterlace the footage which we try. Could this be due to underexposure? I even see it on the shadow area of a day exterior scene. Any advice will be appreciated, thanks FB

Hello, Has anyone heard any rumors about new Canon or Red products, I'm thinking about getting a 7D but perhaps I should wait to get the newest technology if it's coming out, Thanks Francisco

Hello I was wondering if anyone has some reference examples of old hollywood style day for night photography? I will be doing a test and I'm looking for some good information on this technique. Any comments or suggestions are welcome, thanks Francisco

Hello I'm shooting a short film and we are using vision 3 stocks, initially I was going to order according to our different day and night scenes, now I'm thinking to order only 1 stock, it's an all african-american cast and think I could benefit from the extra speed. Has anyone used 5219 on daylight scenes? Plus that way we can be more accurate with the order and minimize waste. I'm wondering about the grain structure of 19 and if it makes a huge difference with respect to 07. Any comments or suggestions are welcome, Thanks Francisco

Hi, This is definetely sad news. You have all my support. Casually, I started a feature a few years back which we shot in 35mm B&W anamorphic, the project got stalled for various reasons. Now, finally we will be able to finish it this year. We will shoot 5231 and 5222, I just hope is not the last feature ever shot on Kodak B&W. It's really a great look. Here is the trailer if you would like to check it out. http://www.johnnyxmovie.com/trailer/ Francisco

Any experiences pushing 5231 and 5222 1 or 2 stops? Thanks

Hello Does anyone know if Kaminsky used 22 and 31 stocks in this film? I feel like 22 is a bit too grainy. Any comments are appreciated Thanks

I'm wondering which ring lite has the most output

Hello Has anyone used a ring lite, such as Kino cameo or LED with the RED on a steadycam? Any advice is greatly appreciated, I'm a bit concern about the configuration and want to make sure we have the adequate support since we wont be able to prep it. thanks Francisco

Great work David! Too bad we couldn't catch it in the theaters. That flashlight was really keying the face of that kid? it's amazing, Master prime, wide open? Beautiful!

Hey I meant what company do you use to stream the footage on the web? thanks

Great work Chase! quick question: how do you stream the footage? Thanks

Thanks for the reply I'm wondering if we need to install Panasonics firmware for the HVX eventhough we are doing tape.

Hello, We are using FCP 6 and trying to import footage shot on tape with the HVX200 but FCP is not recognizing it. Any help will be appreciated. Francisco

Hello, I have been working on improving my website for a few months now and I'm finally pretty much done. If you get a chance please take a look, I would be curious to find out how fast the clips download for you, I increased the window size to 720x480 and I'm hoping that it's not too slow in most computers. franciscobulgarelli.com Any constructive criticism is welcome, thanks Francisco