F Bulgarelli

Here are a couple of pictures. I'm not sure what you mean by black gate. Thanks

I'm selling my Aaton LTR54, it's in great shape, the motor was just overhauled by Abel. Package consists of: Body, serial #1024 Super 16 ground glass 2 Magazines Hand Held Grip with rods 3x3 Matte Box Angenieux lens 17.5-70mm T2.5 Costum made battery pack (no on-board) No video tap 3x3 3,6,9 ND filters I'm asking $5.000.00 for everything Any questions or if you would like to see it, please call me at 626-226-7762 Francisco

Awesome stuff Matt, I love Chicago, one of the most photogenic cities in the world. What's is the dome, are the fisheye effects created in post? What particular setting do you use for the car lights smears? do you disabled the shutter and shoot 1 or 2 frames a second? Great work! Francisco

Hey MIke, If you are still looking for someone, try this guy, Jeff Dolen 714-423-8866 He is a good AC and has worked underwater How did everything go this weekend, drop me a line? Francisco

The print I saw looked pretty grainy at times, I thought maybe they were using 7279. I really enjoyed the film, there is this sadness always present in the main characters life, it's one of those rare instances in movies where you really feel for this person. I loved what they did with sounds as he goes into his first day working in the deli and we hear the voices of the fans cheering and then stops suddenly and the interaction with the costumers in the Deli. Also, the little event where people came to get autographs from the wrestlers, really great stuff. All really clever ways of telling a story. Very documentary like, no doubt. Overall, great film.

I liked it. It has a bit of a Terrence Malik feel to it. That HVX200 held up pretty nice, I liked how you used the long end of the lens for shallow depth of field and those super wide panoramic shots were nice, I'm not sure if you used a Pola but the sky could have been a bit bluer against those clouds.

That was very good, the music felt a bit too much like "molin Rouge", I don't know if that's good or bad The only part where the lighting bothered me a bit was the dialogue between the magician and the janitor, the magician was nice and moody and the janitor felt a bit too bright and flat. The phantom shots are awesome! Great Job!

Hello James, I realize this post is old but do you already have a DP? My name is Francisco Bulgarelli. Please view my reel at: http://prettypictures.com/franciscobulgarelli/ I have years of experience shooting digital and film formats, I can bring the right combination of creativity and technical knowledge to your production. Recently, I've been shooting a lot with the RED camera, if you go to my demo reel, the short "The Debt" was done with the RED as well as this other short that we recently finished: I love the process of storytelling and working with the director to bring his/her vision to the screen, I consider myself a perfectionist and always strive to do my best before and during the production. Please feel free to contact me at anytime, Regards, Francisco

this is so irrelevant, who cares....RED, film,hvx200...it's really about the story, the script and what the budget affords. shoot, shoot, shoot...no matter what format. I love film, I try to use it when I can but I think it's going to be up to the people that have the money wether it survives as the most important image capture format.

Thanks Mitch, I'm glad you liked my work. For the opening scene, we used a 12oo hmi with light difussion on the lens, also we had a 1k tunsten with 1/2 blue bouncing in the bedroom and some other small units for accents. Th warm in the car scene was from a 4x2 kino with a bit of warm gel on it, I believe we used 1/4 cts, the warm in the bar was done in the color timing. hope this helps, Francisco

Hello there, I used a pola and nd9 outside and was shooting around t4/5.6 split, inside the tent we were atound t4 without any filtration. We used zeiss t2.1 lenses, mainly 16mm, 28mm and 40mm. thanks for the comments and happy holidays

Thank you Mathew, yes, perhaps it 's a bit blue, we didn't have time to do a very thorough color timing because of a deadline but once with time we'll improve it

Hello David, 11 half hour episodes in less than 3 months, were you guys moving at a super fast pace? Francisco

I liked it, except some of the effects like the mirrors breaking look a little too fake. What lights did you use in the opening sequence? the ones flashing in the backgrounds, they look like led lights. Great work

Thanks Owen, I'm glad you liked it. Actually. the RED is very good in low light, truly a 320 asa but I have shot at 500asa and the image holds very nice, it doesn't get too noisy, you have to be careful though, from my experience, you can't go much farther than that. ˙Here's some clips of another short I did, it has some night interiors, this will give you n idea how the camera performs. We shot with the Zeiss t1.3 and I was around 1.3/2 split, sometimes t2.4 some scenes were brought down in post. http://bulgarelli.adbeast.com/reels/sr_fb_narrative/ Hope you enjoy it

We shot this little short a week ago out in the Palmdale area. Pretty much we had about 6 hours of daylight, basically available light with some bounce for the close ups and a bounced 575 hmi inside the tent, I've been relying a lot on the false color setting to determine exposure, I think it is very accurate. If I feel like I need to control the highlights I know that I can go under a bit and the latitude will still be there. I'm very impressed with the latitude of this camera. One of the actors is the "agua" guy from "No Country for Old Men" Let me know your thoughts: Thanks

Hello Erik, Looks great, did you do it all yourself? What software do you use? Thanks Francisco

oops, I'm out of space

Here is a couple more shots: The exterior we did with the Primo 10mm lens.

Here are a couple of shots from our short film DADA. We shot with Panavision camera, primo lenses and 5219 vision stock. We did a best latitude transfer to hdcam-sr and went to a 2k "DI" at plaster city. This is a period piece (as you can tell) and we created the look on the the DI, adding earth tones, desaturation and contrast, also we applied a very subtle glow and difussion.

Cinematography is the craft of turning an idea/thought into moving images. The director and cinematographer (among many other people) work together to bring it to life. I believe good cinematography has the capacity to touch you at an emotional level, it connects you with the narrative in a way that makes all the different part of the film (acting, production design, etc) come together as a whole. I don't think cinematography should go unnoticed all the time, if that was the case, I'm not sure why we spent so much time talking about it. The cinematographer and director have to have the tact and skill to choose the right shots for the right time, using the vocabulary of cinema to reach the audience's emotions.

Thanks, I'll mention that to the sound designer. Actually, what you see in that picture, the bongo tie was holding the whole rig together, hahaha seriously, I think we tried that configuration and was a bit cumbersome as you can see; eventually, I opted to go without much and just make the rig as light as possible. Francisco

I found this quote by Conrad Hall in the book "Film Lighting", I think it's truly inspirational and something we could carry with us always. "AFTER YOU HAVE DONE A PICTURE YOU FORGET EVERYTHING YOU HAVE EVER KNOWN, SO THAT YOU BECOME A CHILD AGAIN, OR AN INFANT OR A VOID INTO WHICH THE NEW PICTURE CREATES A WHOLE NEW EVOLVEMENT, A WHOLE NEW GROWTH, A WHOLE NEW DEVELOPMENT, SO THAT YOU DO NOT HAVE TO KEEP DOING THE SAME THING ALL OVER AGAIN. IN OTHER WORDS YOU TAKE YOURSELF BACK TO GROUND ZERO. OF COURSE YOU CANNOT UNLEARN WHAT YOUR BRAIN KNOWS. BUT I MEAN IT EMOTIONALLY, I MEAN THAT YOU JUST BECOME SCARED AGAIN, AS IF YOU DO NOT KNOW ANYTHING. INSTEAD OF HAVING A SENSE OF ARROGANCE THAT MAKES YOU FEEL YOU ARE THE MASTER, YOU FEEL LIKE THE OPPOSITE. I NEVER FELT ON TOP OF IT. I NEVER FELT THAT I KNEW SO MUCH THAT I COULD SIT BACK WITH A CUP OF COFFEE AND IT WOULD TURN ALL WONDERFUL. I ALWAYS FELT THAT UNLESS I WORK REALLY HARD AT IT AND PAY REALLY CLOSE ATTENTION TO IT EVERY SECOND OF THE WAY, THAT I MAY NOT END UP WITH SOMETHING THAT SOMEBODY WOULD LIKE" FILM LIGHTING, PAGE 181

Thanks Adam, Lastly, What glass were you using for the Prince video? Thanks for all the feedback, Francisco

Hello Adam, Really nice work. Your videos have a really high quality execution. I had a couple of general questions about your work. I was looking at some of your other music videos, for the Prince music video, I really liked the sequence in the bedroom, I was wondering if you could tell us what stop did you use there and how did you rate the film, I'm wondering if it was brought down a lot in post. I noticed there is a cool pattern in the back wall, is that a cucoloris? do the Briese lights come with different layers of diffusion? Thanks Francisco