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gustavo godinho

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Everything posted by gustavo godinho

  1. Hi. Are there many camera operators/dps who do their own focus without the need of a first AC as focus puller? I'm not talking about documentary stuff. I'm thinking about doing it after watching this Listen Up Philip BTS doc. Sean Prince Williams, the DP, is pulling focus himself. What do you guys think when we're talking about working with actors and, sure, with a language that allows some focus mistakes?
  2. Hi. I will shoot (direct/dp/camera op) my first feature, a very small budget documentary style comedy with non actors shot in brazil. I'm thinking about making things differently this time. Rather than shoot with lightweight compact gear, I've been thinking about renting an alexa classic, since renting prices dropped a lot lately and now seems to fit the budget. How crazy it sounds considering small crew, one camera assistant only and a lot of handheld stuff? Being more specific about my inquiries - and considering I never shot with an alexa: 1- I'm I completely wrong or an alexa classic shooting pro res internal, almost no accessories attached to it (no monitors, maybe only a remote focus system), sounds more ergonomic and easy to operate on shoulder than a smaller camera like a C200/EVA1 with a shoulder rig? 2- if you guys would pick a system for a very small budget film, with a bunch of non actors, would it be something compact and light like a canon C200/EVA1 or bulky like an alexa with cooke S4 set of lenses for image quality? How slow will an alexa inevitably make the production? How run and gun can it get? Latitude is import, we're talking about shooting exactly over the equator line.
  3. dual pixel autofocus upgrade? some canon c300 ef comes with it nowadays.
  4. canon c300 ef mount camera package ---> infos, please (price, hours, comes with)?
  5. shot the ad yesterday and now posting some frames: http://farm6.staticflickr.com/5339/9681360605_f2c0727352_o.jpg I was little unsecure about asking for 2 x 2.5/4k for the windows for 2 reasons: overbudget and too much power for my needs, but at the end I did. production couldn't afford, so went with 2 x 1.2k. on the day of the shoot, the director changed his mind and decided to show the exterior, so I was unable to cover the windows with diffusers, which was good, because 1.2k wouldn't be enough to achieve the soft sun filtered through diffusion (3026/27) look when the top fluorescents were on. i think it would begin to work at 4k, what do you guys think? conclusion: went with 2 x 1.2k with 3010 diffusion in front of each one shooting from the outside hall to the classroom windows. a third 1.2k was pointing to the outside wall (full power, no lens) to overexpose it, since it was almost dark there. interior top fluorescents were on, for a brighter/softer look. for budget limitations, had to accept the mixed color temperatures, which was not sooo bad. used also a kino (2 lamps with 3010) for general fill. shot on red scarlet with canon 24-70mm and canon 35mm 1.4L
  6. hi, guys is there a very general list of things to take note when scouting? thanks :)
  7. hey, this classroom is on the third floor of this building, so no tripods with HMIs. but there's that hall outside that you can see on picture #2
  8. Hi! How would you guys light this classroom for a clean and bright warm sunny day look? One teacher talking and students watching his class. :)
  9. hi. i've been searching threads about techniques, setups, external links and advices on shooting cars on studio, but didn't find anything. how to be fast? what's better: move the camera, the car or the lights? what's a basic setup? :)
  10. hi, guys. 1- imagine a scenario that mixes the par64 light grid of the upper photos with the green grass scenario below, all shot on studio. on a studio we won't be able to have a big amount of artificial grass, so the secret is control the split. i'm afraid the par64 grid kills it and reveals everything, so i thought about dimmer it a little down and use a large source above the grid, round shape, for the main light, like picture 4. what do you guys think? 2- take a close look at picture 3. my bet is: par64 grid for backlight and mainly for shot compose, hmi from left for strong backlight (watch his shadow projected) and upper diffused light. can you guys bet what is this upper large source? thanks, guys!
  11. I'm thinking about adding fluorescent lamps on its ceiling, maybe 3x the actual amount and achieving some gain if necessary. It's very important to have some reference of the city lights through the windows. What else would you guys do in a very low budget production? We're shooting Sony EX1 + M2.
  12. I just watched A Mighty Heart and confess I didn´t figure out it was completely shot on HD until I watched the making of. Fantastic work. There was one small detail that made me think: "did he intend to do it?". Well, I have a pocket Sanyo Xacti camera, for home videos purpose only. It looks like a pistol grip and even when you are so concetrated not to shake, you realize it´s impossible due to it´s size and weight. When I watch its clips on large TVs, looks like there was a small engine inside my hands. Your camera on those wedding scenes sometimes shake EXACTLY like that. So it becomes obvious you wanted to achieve sort of a ´home video look´, and what a perfect shakeness you got there!
  13. I'm making KIND OF a video for a band. In fact it's like a 7 minutes promo with 3 minutes of interviews and one song half shot in a studio and half shot in a gig (this gig part is done). The studio part I want to look like The studio where we'll probably shoot is this OK, we're comparing a beautiful vintage-look studio with a medium-size square room with white walls, but I'm pretty sure I can simulate something near to that. My idea is a basic 500w-1000w light on the ceiling covered with blackwrap to make a spot over 2 members of the band's head, as backlight. For the other members I'll use smaller lamps that I'll put over the amps. My questions are: 1- How to light the drum kit? Backlight coming from the ceiling or a very spot light coming from the other side of the room? 2- In the pearl jam video, there's beautiful soft light coming from the ground, to compensate the hardness of the spot light from the ceiling. What is the best way to achieve this? We don't have chinese balls here, so it's not an option. Thanks!
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