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Maurizio Zappettini

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Everything posted by Maurizio Zappettini

  1. 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.
  2. 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
  3. 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
  4. 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-- co
  5. 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
  6. 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
  7. 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
  8. Hi Greg, Please check the ad I've just posted on this forum. I'm selling my XTR Plus. Thanks, Maurizio
  9. 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
  10. 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, b
  11. 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
  12. 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 shu
  13. 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 w
  14. 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
  15. Todd-AO in Camden Town - London is great! Superb quality and friendly people... http://www.todd-ao.co.uk/ Maurizio
  16. Hello, I've just shoot a lot of new footage with my 1014XL-S for a music video I've half shoot in Super8 and half in 16mm. I went to a lab in London for a scene by scene color correction telecine where everything apparently went well but when I reviewed the beta in my studio the footage was running slightly faster than the natural speed. Well I give you more details: I shoot at 24 fps and I ask it to be transferred at 24fps with a pulldown to 25fps. The operator asked me also if I wanted to just speed it up at 25fps to avoid the pulldown. We tried 25fps but the speeded up footage w
  17. Thank you for all your suggestions. In the meantime I've already shoot a lot of more footage with this camera for a music video which is much more satisfying than the test rolls I previously shoot and then published here. By the way I'll shoot soon a proper test roll in which I'll make all the test you suggested. To answer to a few questions posted in this topic, the stock used was one 7217 and one 7218. The telecine was just a simple unattended one-light telecine performed on a Ursa Diamond. There was no color correction at all, probably the operator touched just the gamma and color balance
  18. I've shoot two test rolls with a Canon 1014XL-S that I've just bought. I have a few questions: NOTE: footage was entirely shoot at 24fps but it was transferred at 18fps by mistake so the entire footage will run in a little slow motion. 1- I'm not sure about the STABILITY of the frame. The entire footage shakes a lot. Considering that I shoot hand held, I can't understand if it's completely due to my shaken hands or there is also an instability in the frame due to a camera fault (like transport, etc.) Can anyone understand by this footage if the camera is fine? 2- There are many out
  19. That is a useful thing to be known. So do you think that when the endless noise of the moving shutter starts I could get some flickering if I shoot anyway? I've to shoot a part of a music video in Super8 in two days, I was thinking to shoot at 24fps and 220 degrees to avoid any problem even if I'll shoot mostly outdoor/daylight... Do you think with 220 degrees will I obtain a too much blurred image considering I'll shoot entirely handheld? Is it so radical the difference between 150 and 220 degrees? Thanks, Maurizio
  20. I've just bought a Canon 1014XL-S. I've tried it yesterday. I noticed that if the camera is set at 24fps and the shutter angle to 150', the shutter starts to move continuously endless until I switch again to the 220' shutter angle, while if the camera is set at 24 fps and 220' everything is fine. Then I found out that to use 24 fps and 150' I have to set 18fps when I turn on the camera, then set 150', and then set 24fps. In this cheating way 24fps and 150' work. Did anyone else have the same problem? Any suggestion? Thanks, Maurizio
  21. Hello, can anyone recommend me a very good lab for an high quality Super8 telecine (best machines, great colorist, etc.) in the UK (possibly in London...)? Thanks, Maurizio
  22. Hello, I've never used super8 format before. In two weeks I have to shoot a music video using this format. I'll use a Canon 1014XL-S for shooting, then I'll telecine the footage on BetaSP PAL (the format I'll use for the post). Well I've seen on this camera spec that it shots at 24fps (and not 25 too) and I don't know if it does it in crystal sync or not. I was wondering how to shot the singer playback in sync. My first idea is shooting at 24fps and make the singer sing over a version of its song slowed down in its tempo of the equivalent of 1fps. So if he sings slightly slower, when I
  23. Hello, I'm looking for a lab that offers Spirit telecine of 16/super16 film to DVCPRO HD tape or files, or to HD uncompressed QT files, at a reasonable price in London. Does anyone know a facility able to do that? Thanks, Maurizio
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