Rodrigo Llano

Olá galera.. aqui Llano.. disfrutando da luz em BH... abraços

Fala Rodrigo... beleza.. da um toque e a gente compartilha alguns dados... abraço llano

The test was run under tungsten light in a studio environment.. Today I did several test with a Red and the filters show the same tendency but softer... ll.

Hi guys.. here two comparative pics .. one with Schneider ND9 and the other with out any filter... thanks again llano

Hi everyone. I'd just finish a resolution test for the Panasonic HPX-300 and also a test for my new Schneider Nd's The surprise at the end of the day wasn't the more or less resolution that camera+lenses bring but the awful Magenta color that Schneider Nd's put into the image.. I decide to choose for this ND series because good experiences in old works and because a cinematographer option in term of what kind of image I want to create. Before I like that bluish-little greenish tone that add, easy to correct but also kind of beauty. Now the images turn Magenta, like using a minus green 2.. anybody have some experience with that? Is the Schneider Nd change in the last time? Is this camera more sensible to some pigments in the filters? Thanks Llano.

I think that Che is a really good way to show how Digital capture could be pushed in many different ways to tell a history. Probably we will find a lot of pros and cons about the look of the movie but I feel that this is a good example about how digital works by it self, without any pretensions to equal film. The only thing that I miss was more density in the blacks... probably was just an issue related to the distribution copy of the movie for the LatinAmerican market. In a very personal perspective about the look. I agree about the highlight clipping is distracting but understandable.

Diving in the camera room in the Film School of Chile, were I teach, found a couple of short end of 5248. We used it without any compensation just to see how the time could degrade a film stock. We shot a simple dolly exercise in one of the school patios.. The image finally was really impressive. Deep blacks, saturated colors and clear definition.. the Iso rate wasn't a problem at all.. I just find some magenta shift in medium to shadows areas.. but nothing so important for at least 10 years of regular to bad storage condition. all the best Rodrigo

Tim.. what about to include South America as a sub forum in order to connect the spanish cinematography world that sometimes have some problems to explains theirs ideas in other lenguages. rodrigo

Santiago, Chile.. Or just South America instead? A lot of people comes to any of these country to shoot and sometimes we need some more efficient kind of networking to help us.. Rodrigo

Hi all.. Somebody have experiences with Fujinon HAe 12x9.5 zoom lense? how the lens response in whole focal length? also I'm wondering if Chrozsiel mattebox 805-02 fix on it, or I'll probably need a 6x Mattebox? Best regards Rodrigo

Hi all. I'm in the prep for a documentary to be shoot late december - january over Varicam with (hopefully) digi primes to be blow up to 35mm for theatrical releases. Now I'm looking for recommendations of labs-post productions houses in NYC that doing this job and some advices in camera setting in order to get the best quality as possible. I'll shoot some test early december specially to get the contrast - color saturation and definition that we want , but always is welcome a good start point. Thanks in advance Rodrigo

Hey OLIVER.. Please use your complete name on your comments as an ettiquete rule. regards Rodrigo

as always.. Less is more... Rodrigo

hey patrick thanks.. to handle the P2 cards information we used a portable store drive panasonic AJ-PCS060G with some extra cares. we decided to put in camera 1 card each time to prevent divided clips and to know exactly where the clip are and write it down in the clapper. We used 120 4g cards for this series downloading all the information in the store during the day to be finally download in a Hard Disk at the end of the day. The advantages of this system is the don't generate any noise compared with the 100G FS-100 disk cooling system. If you have 8G or 16G card will be easy to handle.. To make a second back up you could burn a DVD (4G card) or a HD DVD for the 16 G.. Matte Box was an invaluable gear in our side. Be sure to use an filter holder Matte Box like Chrozsiel's, other that just put the filter in are very slow and difficult to use.. Be careful with the back reflections. A good focus puller will save your life, specially if you'll decide to work in really wide aperture like me ( the closest was F 2.8) If you will use jib or steady systems take care of the sensibility of this because of the weight of the camera. Some this helpful gears could become a headache.. Check your images through component output , is the best way in this camera. You could control your focus with more accuracy . best regards Rodrigo

one more..

After 20 days of intense work, the series is almost done. Here some pics of scenes without the final color correction but could be a good example of my color options.. Keep a good depth of field was a huge challenge obviously but I could work in critic focus range thanks to my first assistant-Focus Puller Eduardo Contreras.

Anne. Please send to your family all my respect and love. John is a incredible example of courage and strength peace and love Rodrigo

That's right Cole.. I hope to go back Dominican this september for a commercial shoot.. (btw. the dominican coffee is the best for film productions) Best regards Rodrigo

simple and effective .. great job

Dear John Just keep going, probably you body is a little weak but your family and friends' love make you stronger . Some chilean light for your silver grain.. Rodrigo

Well.. more locations and more storyboards coming these days. The series "Mundos Paralelos" (Parallels Worlds) is a history of some people who live weird situations based in old legends and urban stories (not the extirpation of the kidney ones). The directors-writers want to recreate the "twilight zone" atmosphere and tension in actual scenarios and using theirs particular point of view. Yesterday we visited a beautiful area near Santiago (very close to the Andes) in a technical scout to shot a 2 days of a rainy and very stormy night scene. In the exteriors we will see a log house in the middle of a quite dense long tree forest . Inside house we see a warm space lighted just for a desk lamp and the fireplace. The night will be a kind of metallic white lights touched with some lightning bluish fx . more l8ter.. i'm working in the light plans for it Rodrigo

After a long time posting and reviewing a lot of contributions, I'd decide to share my experiences as a journal of a new TV show that I'm just start pre-production for a 20 days of shooting of the first season of a fiction series to be broadcast in chilean TV channel (national broadcast). Because of budget and HD develop status in Chile (no HD broadcast for the next 8 years, at least) , the production decided shot this project over 720p captured with Panasonic HVX-200, which made me think in a huge challenge in order to keep a high image standard because of the lens, contrast, color and sharp limitations. After several tests I'd decide use different camera filters just to get a "dirty" image, particular color and softness. Because of that my exterior will be shot in 3200k camera balance and filtered with 85ND, glimmer glass 1 and ultrapolar, trying to keep an f 2.8 just to create the less depth of field that I could get without compromise my focus. (my excuses in advance to my focus puller, I know that will be hard) The series, a suspense one, give me the freedom to play with chiaro-oscuro and create color and texture areas in order to create a rich image and characters. Will be shot in real locations that will be another challenge creating and controlling the light. Some small apartments, some huge (huuuge rooms). Some of my references are Helnwein draws and pictures, Caravaggio, Hopper and other .. depending the scene and story. My first real challenge will be a Day for night interior scene (producer decision because of location timing) in wich we have windows reference with a dolly back that end in a over-shoulder of a character seated in a chair waiting for his boyfriend. I'll probably Nd the windows or net it to control the incoming light and exposure (the windows are south view that means no direct sun light coming in this hemisfere) That for now.. I'll post my references later Rodrigo

Hey matias I'd usually try to change color or add any FX in camera specially because always you will get a totally different image. Remember that in you situation is more than a simple color change, is light coming through a piece of glass.... Mi consejo.. prueba con filtros en camara, mezclalos e intenta llegar a tu objetivo, luego comparalo con lo que puedes realizar en pos... te llevaras abgradables resultados y una buena experiencia para tui coleccion un abrazo best regards (and excuse for this few spanish lines) Rodrigo

Have you seen the 35mm version? Stephen actually this is what I'm looking for. If somebody with some experience have seen 35 mm projections.. we could read a lot of stuff about how good or which problems the prototype could have, but how really looks ? Rodrigo