Maurizio Zappettini

Hi, I’m looking for a car cinematography specialized DP for a high end SPEC commercial. Green screen experience is required as the featured car will be driven on a large green screen cyclorama. Although a car specialist, this person must be good at lighting people as well. The shoot will take place on July 25-26 in Los Angeles. Non-Union shoot. Pay negotiated upon experience. Please apply only if you specialize in car cinematography. We need to confirm someone ASAP. If interested, please email a link to your reel/portfolio to crewapplications@mzo.tv Thanks.

CANON 11.5-138mm T/2.5 ZOOM CINEMA LENS SUPER 16 PL for sale ONE OF THE BEST SUPER16 ZOOM LENSES AROUND. SUPERB CONDITIONS. PERFECT GLASS. SMOOTH FOCUS. NEVER RENTED. Lens: 11.5-138 Canon T-Stop: 2.5 Mount: PL Min. Focus: 3ft. 6in. Weight (lbs): 3.75 Front Dia.: 95mm PL Mount. Perfect for Arri and Aaton super16 cameras and digital cinema cameras with sensor size up to Super16 .It works on RED cameras if these are used in 2K resolution (I personally shot a music video in this way and the images looked great). It should be perfect for the new Digital Super16 cameras like the Bolex D16 (http://www.digitalbolex.com/products/bolex-d16/) and the Ikonoskop A-Cam dll (http://www.ikonoskop.com/dii/) with PL adapters, since these have Super16-sized sensor. It should also work on the new Blackmagic Cinema Camera, according to an article on EOSHD.com, where they tested a very similar lens (Canon 8-64 PL) on that camera and it worked well. They only noticed a slight vignette at 8mm but this lens should not have that problem, as its minimum focal length is 11.5mm. See the article here (http://www.eoshd.com/content/9447/hurt-locker-lens-canon-8-64mm-t2-4-pl-zoom-perfect-companion-for-the-blackmagic-cinema-camera) Full details and more photos on BBlist: http://www.bblist.co.uk/item.php?item=34974 GBP 3,300. The lens is located in London - UK. Any inspection welcome. Collection in person is preferred, however I can ship it anywhere (shipping costs not included). For info: hello --at-- mzo --dot-- tv Thank You!

CANON 11.5-138 T2.5 ZOOM LENS SUPER 16 PL for sale MINT CONDITION. Lens: 11.5-138 Canon T-Stop: 2.5 Mount: PL Min. Focus: 3ft. 6in. Weight (lbs): 3.75 Front Dia.: 95mm GBP 3,000. The lens is located in London - UK. Any inspection welcome. Collection in person is preferred, however I can ship it within the EU (shipping cost not included). For info: maurizio --at-- clawfilms --dot-- com Thanks, Maurizio

I am selling my Aaton XTR Plus Super16 (serial C1796), PL mount, 6 – 70 FPS at set speeds. 3 x 400' Super16 mags + 1 x '400 Standard 16 mag pistol grip, on/off cable, rods, 3 x 16v batteries, charger for 3 batteries flight cases Very good condition - always serviced - never rented. GBP 2,800. The camera is located in London - UK. Any inspection welcome. Collection in person is preferred, however I can ship it within the EU (shipping cost not included). This commercial has been entirely shot with this camera: For info: maurizio --at-- clawfilms --dot-- com Thanks, Maurizio

I am selling my Aaton XTR Plus Super16 (serial C1796), PL mount, 6 – 70 FPS at set speeds. 3 x 400' Super16 mags + 1 x '400 Standard 16 mag pistol grip, on/off cable, rods, 3 x 16v batteries, charger for 3 batteries flight cases Very good condition - always serviced - never rented. GBP 3,500. The camera is located in London - UK. Any inspection of the camera is welcome. This commercial has been entirely shot with this camera: For info: maurizio --at-- clawfilms --dot-- com Thanks, Maurizio

I am selling my Aaton XTR Plus Super16 (serial C1796), PL mount, 6 – 70 FPS at set speeds. 3 x 400' Super16 mags + 1 x '400 Standard 16 mag pistol grip, on/off cable, rods, 3 x 16v batteries, charger for 3 batteries flight cases Very good condition - always serviced - never rented. GBP 3,500. The camera is located in London - UK. Any inspection of the camera is welcome. This commercial has been entirely shot with this camera: For info: maurizio --at-- clawfilms --dot-- com Thanks, Maurizio

Price lowered to £3,500!

I am selling my Aaton XTR Plus Super16 (serial C1796), PL mount, 6 – 70 FPS at set speeds. 3 x 400' Super16 mags + 1 x '400 Standard 16 mag pistol grip, on/off cable, rods, 3 x 16v batteries, charger for 3 batteries flight cases Very good condition - always serviced - never rented. GBP 4,000. The camera is located in London - UK. Any inspection of the camera is welcome. This commercial has been entirely shot with this camera: http://www.youtube.com/watch?v=SPHvxxpZeSg For info: maurizio --at-- clawfilms --dot-- com Thanks, Maurizio

Hi Greg, Please check the ad I've just posted on this forum. I'm selling my XTR Plus. Thanks, Maurizio

I am selling my Aaton XTR Plus Super16 (serial C1796), PL mount, 6 – 70 FPS at set speeds. 3 x 400' Super16 mags + 1 x '400 Standard 16 mag pistol grip, on/off cable, rods, 3 x 16v batteries, charger for 3 batteries flight cases Very good condition - always serviced - never rented. GBP 5,300. The camera is located in London - UK. This commercial has been entirely shot with this camera: http://www.youtube.com/watch?v=SPHvxxpZeSg For info: maurizio --at-- clawfilms --dot-- com Thanks, Maurizio

Hello I've just finished to shoot a Super16 music video. Yesterday we telecined the whole footage to HDcam SR with a Spirit HD telecine. The footage will then be ingested for editing, vfx etc. When we were ready to layoff the footage to HDcam SR once the grade was completed, I have been asked by the operator whether to layoff it in 50i or 25p (I'm in Europe). I was not sure about what to do, so I asked him which format he was suggesting and he said 50i. So we did 50i. Today I started to think whether the 50i layoff could make the camera pans and general motion feeling more video, but I really don't want this to happen. Unfortunately I haven't had the chance to watch the footage on HDcam SR yet. Does anyone know whether laying off at 50i could have taken away that beautiful film feeling in the motion and camera movements? Many thanks Maurizio

Hi Jonnie Thanks for the suggestion. I'd like to try the 3K resolution but I have only S16 lenses available for this project, therefore I have to stick to 2K. Also I heard that when you shoot 3K and you import the footage in Final Cut, the resolution will be downscaled to 1.5K while if you import 2K footage it will remain 2K. Anyway I'm not sure about this, that's just something I heard. Maurizio

Hello Next week I'm shooting a music video with both RED One and a Super16 camera. I never shoot in RED before although I did some camera tests last week. What I'm trying to achieve is a very cinematic look in the motion so that the super16 footage and the RED one will match well. I will shoot most of the footage at different frame rates in 2K 16:9 using a Super16 zoom lens and a wide angle prime. I'll shoot at 25, 33, 50, 75, 100 fps but 33 and 50 fps will be probably the frame rates I'll use mostly. In my tests I noticed that working on the combination between frame rate and shutter angle the motion look becomes more "cinematic" and less video-realistic but I can't understand properly what are the best settings to achieve the look I'm looking for. In theory I thought that keeping the shutter angle wider, the motion blur would improve therefore the motion would become more "film" look. Actually I found out that is not strictly related. For example, if I allow the shutter angle to compensate automatically my aperture, the look that I obtain in the motion is much more video than the one obtained forcing the shutter angle to a different degree: for instance I set the frame rate at 33 fps and the auto shutter was at 238 degrees and the motion-look was much more video than shooting at the same speed but with the shutter manually set at 180 degrees. Does anyone have any suggestion on how obtaining a very film-cinematic look with Red? Many thanks Maurizio

Hello I'm going to shoot a low budget music video next week using a tapeless workflow for the post production. We are shooting in RED the dance sequence and story, while we'll shoot in film super16 the singer playback. Film footage will be HD telecined on HDcam SR tape and then the tape acquired in Apple Prores422 format and the RED footage will be exported in Prores422 as well. All the footage will go on the same hard drive. Well now the problem: we are going to grade in Apple Color on our FinalCut workstation but, prior to the grade, we need to create an offline version of the whole footage and give that to an editing company where an editor will probably use an Avid system to edit it. How does the offline/online thing work in a tapeless workflow? What about the timecode and EDL? What kind of offline version of the footage I have to prepare for the editor? Then how do I conform the footage in FCP and so make the online timeline so that I can "send" it to Color for grading? Please help me if you know anything about this type of workflow. Many thanks Maurizio

Hello, I have an Arri 16BL that needs to be serviced. I've shoot a lot of rolls with my camera in the last 5 years with amazing results. However lately I noticed the camera needs to be serviced because two mags have little problems, the gate closure is weak and it needs a general check. Then two weeks ago during a shoot the camera fell down from the tripod. Apparently nothing has happened but before using it again I want to have it fully serviced. Then the day before it fell down I had another problem concerning the electronic. My camera mounts a Tobin TXM-27 and I use a Tobin milliframe controller with it. The milliframe doesn't work anymore, TXM works only dialling the speed directly on its knob but when I connect the Milliframe to the camera it doesn't accept the speed set on the milliframe and it runs at about 10/15 fps... I'm based in London and I'm looking for a good and fast service centre that possibly could manage the tobin problem as well together with the camera servicing because I need the camera ready to shoot in one month. Does anyone have any suggestion about what to do? Many thanks, Maurizio