F Bulgarelli

Thanks Brian, Yes, there is plenty of interesting things happening in the scene, my question is more about coverage and the need do turn arounds half way thru the scene in order to help continuity, which is not always practical due to time and relighting. I'm wondering about other DP's approach to shooting long scenes.

Hello all, I have to shoot a 10 page scene, lots of dialogue, 3 people sitting at the table. I'm thinking that it might be a good idea to break it up in half and do a turn around twice so that it's not so hard on the actors, I've seen problems with continuity if you try to shoot long scenes all the way because the actor seem to forget things. I was wondering if you could share any experiences dealing with this kind of situation and what the best approach is. Thanks fb

This is an old favorite of mine: Red Hot Chilli Peppers "By The Way" Dayton/Farris http://bobcentral.com/#reel/2/17/2/0 It's funny and the look of the performance section is really cool

Hello, Just launched a new website. I built it with iweb, which I found really easy to use. I'm doing the hosting with mobilme and the video streaming with adbeast. Please let know your thoughts, regards, Francisco

By now we should be use to MIchael Mann's unpredictable format choices. Weather the movie is good or bad remains to be seen, can't judge a movie by the trailer. Format is irrelevant, it might work for what they are trying to achieve. I just saw Rachel Getting Married, shot on the f900, great film and the format served perfectly for the that particular film, on the other hand, I saw "Taken" and was bothered by the digital looking action sequences. I think Mann was after a contemporary looking period piece.

Hello Chayse, I use my still camera for quick contrast checking, I have a 50mm t1.8 which allows me to see where I'm with the exposure as well. I try not to get to comfy with the monitor, after all, is just a reference image, trust your eye and in a way treat the RED like film. It's important to pre-visualize the image. I think it all starts from how you see it inside your head. Just my 2 cents, Francisco

I think there is a tendency now to want to shoot wide open or almost wide open at very low light levels. There also seems to be a desire to shoot as close as possible to how the eye sees it, without all the compensations for exposure. I think just because you go dark it doesn't mean you are not lighting, actually, it's probably one of the hardest things to do because the margin of error is very small. fb

I helped on a shoot a couple of days ago where the whole green screen was pre-lit with LED's but they also had an series of larger LED lights to be used as keys and fill, everything pretty much was LED, except for a few kinos. I have to say, those lights have their applications but found them very hard to use when you want to model the light, specially in close ups and for backlight. It might have to do with the fact that it's not a single source but hundreds of really small sources that don't provide much punch when diffused. I found it a little boring and hard to create something really interesting and that is considering that I was helping a really good DP. Any experiences?

Thank you, I'll give it a shot

David, What lighting unit did you use for the direct sunlight on the shot with Billy Bob? It looks like there is ambient and the harder shaft. Thanks

Hello, Anyone has experience with iweb? I'm trying to convert the actual links to images, so you click on the actual image and not the link, is there a way to do that on iweb? thanks Francisco

Hello, Has anyone have eperience with filtration and the RED, I'm shooting a short and I'm thinking about using 1/8 BPM just to take the edge off a bit, digital can be overly sharp at times and we are going for more of a gritty look. Unfortunetly I won't be able to test ahead of time but will play around with various things on the set. Any suggestions are greatly appreciated, Francisco

Anyone has any Super 16 short ends willing to sell cheap thanks

Thank you guys, this is very useful. So far it looks like the best option is to shot 24fps here and 25fps there.

The post production will be done in India, in that sense, would it make more sense to shoot 25fps?

How were you viewing the footage on set, was there a specific LUT for that?

Muchisimas Gracias (that means, thank you so very much)

Hi David, I was wondering if you could share your experience with us now that you have taken the RED all the way to film print via D.I. Are you happy with the results? Did you make any adjustment in exposure or lighting to favor your workflow? would you say, it's very similar as the f900 and other digital cameras? Thanks David, I would really appreciate it. Francisco

Slumdog all the way!

FILM FOREVER!!!!!!! Ok, wishful thinking (-:

Hello, There is a possibility of shooting a movie on the RED for eventual film projection in India and the States. India is PAL, USA is NTSC Should we shoot 24fps or 25fps? What would be the eventual post production workflow for film and dvd releases. Any advice would be greatly appreciated, Regards, Francisco

I just created this montage, please check it out and send me your thoughts. Thanks Francisco http://www.youtube.com/watch?v=ckUI3VFlHMM...re=channel_page

Very interesting, thanks David.

I'm curious about the noise in the blue channel, has anyone tested or shot night interiors with hmi and balanced for daylight versus lit with tungsten and balanced for tungten, will there be a considerable greater amount of noise on that tungsten lit scene? given that they are both rated at 320asa and exposed properly I know that most times there is mixing of color temperatures with gels and what not. I worked with a DP that used 80 series filters to keep the balance in the blue and a hot mirror to help with IR. Have't seen the results yet. David, Did you use any special filtration? thanks

Yes, it has a black gate. The motor was overhauled about a year ago and don't know when was the last complete overhaul. Thanks Francisco