F Bulgarelli

Hey thanks Allen

oops! there is actual size and everythig...sorry, let me figure out how to attach a smaller image.

I'm selling my handheld brace, check it out. Perfect for your DV/HDV camera $100.00 is all yours, I'm in the L.A. area

Thank you for your comments, My 1st AC Allen Atcherberg did a fantastic job on the focus, he's a member of this forum. We used Zeiss T1.3 pl and Allen might be able to give you more feedback on the focus scales but I believe they are good, of course I'm sure he wishes he had a few more extra focus marks like the ultra primes or S4's but in any case the 1.3's are fantastic lenses. Satsuki, it's interesting that you mentioned the newspaper because we kept moving it closer and closer after the rehearsals, as I view the footage now I feel like it was a good decision to let it play that way, sometimes is good if you make the viewer work a little bit and in this case, search for that headline. As far as the lighting, we knew that the flashbacks would play more desaturated and contrasty than the present, because of that, we favored single sources with very little fill, like for instance the break in scene when he's going through the files, that was lit with one single 1200 hmi with 1/2 cto shooting through the window and a small kino bank as fill, in post we crushed the blacks. The scene with the man on the chair was very difficult in the sense that took a bit of finicking to find the right position for that light coming through the window (650w) as I wanted it to be very subtle and not distracting, I had more fill in that scene because there was a lot going on with the other 2 characters, also it was my first time using the RED and I wanted to make sure I had a clean, noise free image. That scene was brought down a great deal in post. FOr the scene in the bar, I used different focal lenghts to convey the interaction between the characthers as they moved from a place of total distrust to a place where they felt more comfortable with each other, I started with 65mm and moved into 35mm and 25mm as the scene develops. Deakins always mentions the quality of the wide lens to make you feel closer the character, I was trying to apply that principle starting from the opposite and ending wide. BTW, what you see on my website is not the entire short, the scene in the bar is very involved. Besides the kinos behind the bar, we had small enhancing edge lights and a 4x4 kino for ambient, there was also some really cool practicals at the location. Hope this helps, Francisco

Thank you guys, at first I thought that maybe people didn't have the patience to look at the whole thing and should have used the bar scene only, since it's visually more interesting. we shot with Zeiss t1.3's, scenes were white balanced for either tungsten or daylight according to the scene, color correction on final cut's color, I rated the camera at 320 but really was overexposing a bit and brought it down in post. We were going for a very naturalistic look, didn't use filtration except for nd's and pola, desaturation done in post. we screened the short on a 20x10 screen using a blue ray dvd and it looked really good, definetely very impressed with the lack of noise and the latitude of the camera. The shot of the guy in the elevator, there was at least 7 stops difference between his shadow area and the outside, you can see how the detail holds outside. Thanks for the comments, Francisco

Thank you guys. Rod, what are they call at home depot?

Recently I shot a short film on the RED ONE camera, first on the reel, called "The Debt", please check it out, looking forward to getting some feedback. http://bulgarelli.adbeast.com/reels/sr_fb_narrative/ Thanks Francisco

In your opinion, what's the best gel to use on kinos to get the old green flourescent look. We want to get that look but don't want to do it all in post since we want to isolate the color. Thanks Francisco

Sorry, the first paragraph is David's quote, I'm not sure why didn't come up as a quote.

Then the first shot came up on the next trailer, something in dark blue-ish lighting, and I thought "ah, some film..." but it turned out to be the trailer for "Get Smart", shot on the Genesis. And it looked pretty "normal", not particularly digital. Did you get a chance to see the action scenes on "Get Smart"? They don't look so great, that's where video just doesn't cut it. I'm not sure why that is, if it's the optics or the motion rendering, they look cheap (for a lack of a better word). Same thing happened on Apocalypto, the action scenes in the jungle had that same videoish feel.

Savides Lubesky Prieto Richardson Deakins Elswitt

Yeah, you might be right. To me, it makes it a bit difficult to watch at times. I have shot with the RED and we used a 180 degree shutter, did not recall the footage having that feel, although we didn't not have as much movement.

I found this music video on red relay and really enjoyed the look of it, however there seems to be something funky going on with the way the motion is being rendered (feels choppy), check out the perfomance section, any theories as to what's going on here. Thanks http://www.redrelay.net/owners/0044/films/...40_download.mov

Here is my flicker, please let me know what you think. http://www.flickr.com/photos/franciscobulgarelli/

Check out my website. Francisco

The key light is too hard in my opinion, I would try a soft key by diffusing the key with a 4x4 frame of 251 or similar, also, an eyelight might be nice.

Did anyone mention John Seale (Cold Mountain, Talented Mr Ripley)

I recently used the RED on a music video, it was 95 degrees outside and the camera started shutting down, the camera got super hot, I hear that some assistants are covering the camera with white gaffers tape to keep it form absorving all that heat. We went to 3k mode and seem to be doing better but then we lost some field of view. What I was going to say is that you should try to convince production to have a backup body, I feel it is absolutely necessary.

Hello David, Congratulations on finishing your feature and thanks for all the insight. I had a question about DI; I will be doing my first one this coming weekend for a 35mm short, what's your overall insight as far as exposure, do you generally overexpose and keep the shadows from going too dark and then increase contrast in post or do you stablish the same exposure and look as if you were finishing photochemically. I tend lo like to create the look in camera, in other words, if I want it dark, I shoot it dark but always avoiding too much underexposure. Also, I should mention that I used the RED camera this past weekend, it was really hot outside (95 Degrees) and the camera got super hot, it started shutting itself down, giving us a signal error, we weren't sure if it was the heat or the fact that it was on a jib (a really crappy one) and maybe sudden shaking could have caused it. The assistant switched the settings to 3K and it seem to behave better but we lost some great shots. Anyways, have a spare body (or two) around. Thanks Francisco

Hello all, I'm looking for a green screen cyc for a music video, it needs to be about 20 deep by 30 wide, I'm surprise that my options are limited even in L.A. Any suggestions will be greatly appreciated. I'm also looking for a jib arm with remote head, an inteli-jib or similar would be great, capable of handling a RED camera fit with zeiss lenses, matte box, etc, I'm guessing about 25 pounds. Thanks again for any suggestions, Francisco

I've been using Adbeast for a year now and I'm very please. The footage downloads right away for the most part.

Thank you for your kind replies. I'm sorry I wasn't more specific about the equipment. We will be shooting on video, possibly canon xl2 or panasonic hvx200, this is a documentary, I suppose that eventhough initially we will be dealing with the post here in the states, the documentary will have to be transfer to all formats. I wonder if we should rent a PAL camera so we don't have to deal with any flicker issues, a lot of times we will have to use existing light fixtures and/or a lighting kit rented locally. My HVX (NTSC) has a syncro scan, I'm wondering if that's an option when it comes to matching to existing lights. How hard is it to convert PAL footage to NTSC? Regards, Francisco

Hello everyone, If I was to shoot in Europe for the US market (NTSC), specifically Ukraine, what things do I need to take into consideration as far as voltage issues, sound, lights and any other potential problems. any comments or suggestions are greatly appreciated. Thanks Francisco

Thank you guys. Yeah, definetely the glass is most important. This is a period piece very much influenced by Delicatessen, we will do a DI, so a lot of the look will be dialed then, looks like we might be able to do a film test. Most likely I'm going to try the new vision3 stock, rated at 400asa for a bit of extra density, I'm planning to get as much information on the shadows as possible and then increase the contrast during the DI. Actually,right now I'm a bit concern about getting a too clean and sharp of an image. if you know what I mean. I never saw Delicatessen in the big screen, but it seems rather soft and a bit grainy and desaturated. This will be my first DI so it's a whole new experience. Any comments and suggestions are always welcome. Francisco

Thank you John and David, What aboout the newer cameras, have you used the XL David? I know I'm getting ambitious.