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John Atala

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About John Atala

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  • Birthday 07/07/1986

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  • Location
    L.A. & Rio de Janeiro
  • Specialties
    Photography and life.
  1. How's the motion blur on the EX cameras? One thing the HVX 200 got right was the film like movement on panning and moving subjects.
  2. I'm sorry english speakers. He's from portugal and i'm from brazil, i just talked in portuguese. Let me fill you in: I introduced myself, gave him my past hpx gamma knowledge and requested to help fim in the project, since i'm here and have been a AC for quite a while now. Also, i asked him if the camera supplier is a common friend. Sorry, I didn't realize I was segregating. João
  3. Olá Luis, Me é estranho responder para vc, um falante dessa lingua, em ingles. Também participo desse forum e sou um fotógrafo e dono de hvx200 baseado no Rio. Pode ser uma coincidência, mas tenho um amigo que veio pro Rio testar a Hpx com o adaptador, o Vagner. Seria ele seu contato? Engraçado se for. da Cambalhota cinema digital. Já trabalhamos juntos. Respondendo a sua pergunta, quando fiz assistência para o Walter Carvalho, ABC, filmamos com a 500 com o cine like d, chroma negativo e pedestal positivo. tenho os valores em casa, estou no trabalho. posso te passar mais tarde. Gostaria de propor minha ajuda- adoraria ajudar no seu projeto, pois tento me envolver em muitas produções interessantes como a sua. Faço assistência de película já tem tempo, e já tenho fotografado em 16mm bastante e sou dono de um kit HVX200, já tenho conhecimento de video e do vagner. Fico por aqui e vamos nos falar. Meu email: atala.joao@gmail.com Abraço, João Atala
  4. Hello, So the Hpx2000 is very similar to the HPX500? I'm amazed that there is no difference between the two. What about the Scene File setting? no differences? no new gamma settings? thanks, John Atala
  5. Ok, The Camera simply takes Looooooooong to turn on, and some times it doesn't turn on at all. So i reset and take the battery off and put it back on and then it comes on. I have the feeling (obviously not) that it's warming up before it turns on. Oh and sometimes it comes on and i only see image and the letterbox, no nothing on the screen. cant push no bottons AND it will not turn off! only if I remove the battery! then after that it usually comes back on... Any similar stories? Is there any firmware update that i should do? I'm about to send it in. Thanks a lot, John Atala
  6. Thank you guys, and for all the collegues who donated their equipment for the elaboration of this literature! Thanks!
  7. thanks a lot ! I'll check for the new canon glass. John
  8. Thanks a lot for the suggestions. The time is really a factor I've been wanting to cut down. John
  9. 4:2:2 100mbit/sec vs. 4:2:0 25mbit/sec Mpeg-2 Hvx-200 is the way to go.
  10. Hey Everybody, This is my cinematography reel; Please tell me what you think, also, bear in mind that this is just the stuff that i get my hands on, most people disappear and i never see the material shot again. Thanks a lot for checking my stuff out! I try updating it every 15 days or so, so check back!!1 Thanks again http://www.youtube.com/watch?v=V-QTbwp_I4s
  11. We're getting the stock brand new from Kodak. I'm using the V3 19 as an exception to what I've said before; there's two night scenes in which I'm also pulling. Some friends are telling that pulling will not work on scenes with too much dark areas, "you'll end up with gray!!", but that's kind of what i want. Ok, the pulling process lowers grain because of overexposure, yet on the lab, developing is faster; so... does pull processing the stock lowers visual sharpness / awareness? Is visual sharpness linked to apparent grain? In my mind I can perfectly conceive a image with no apparent grain yet with no visual sharpness. I want the critical focus to be apparent and real, with no grain. Am I making any sense here? I'm sorry English is my third language. thanks again. John
  12. Hello to all, I'll be shooting two shorts on S16mm on the upcoming weeks. I've shot quite a few projects on S16mm and some experimental stuff on 35mm. I've studied and tested pull and push processing and bleach bypassing, but all on 35mm. Have push processed 7205 with nice results. I'm aiming for a very nice and Sharp look for these films, very low contrast and fine grain, so i opted for pull processing 1 stop and overexposing by 1 1/2 or 1 1/3 stop. The over exposure should give me a finer grain and a lower contrast; the low con is even better since I'm going with a DI. I've also opted for a post house that uses CCD based telecine (shadow), since I've been told that the Tube based ITK and DIAMOND (these are the ones available here in Rio) are o.k. for 35mm but is just too soft for s16mm. What are the pros and cons of pull processing, am I missing anything here, is there any loss? Finer grain and flat contrast is what i want.... p.s. I'm also using a canon 8-64 lens (which is sharp enough) and staying away from 500 asa stock. i might go with the 7217 or the 7205, for day scenes and v3 7219 for nite (just two scenes)..... thanks a lot guys! João (john) Atala
  13. Hey guys, So, I'll be spending some time in LA with my HVX200 camera (16gb cards...etc). I am interested in rental and projects of all sorts. Email me for details. jatala22955567@gmail.com thanks, João Atala (reads jon atala)
  14. Hi! How did you convert these values? When I analyze curves like that the only ones that make any sense are the ones with camera stops...... thanks! John
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