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Miguel Bunster

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  1. Good Evening,

    I found your comment with regards to the AFI cinematography program. If you qouldnt mind answering a few questions, What kind of grades do you need to get in, and would you think one film is better then an assembly of stuff? Thank you,

  2. David, \thanks you for the reply. Yes what you say makes sense and the asa has been changing a bit but is Between that range. About the diffusoin in wide shots you are right is not the best to drop it there but what really kills it is the quality of the fujinon HD eng lens we are using is really bad...looks so soft in wide shtos wide open so trying to work around it. The othter thing i am trying to figure out (this movie i couldn't test the camera but a day before) is how grainy it is in the lower range of the latituted. Way more grainier than other f900's i used. I am using the Hyper gamma 3 plus the BBC settings (like 0.45 gamma) to get more info on the recording to nano flash (1920x1080 4:2:2) but for example on well exposed scenes at day there is grain in the hair of the actors! even though i am plannin to bring the blacks back and this reduces the grain i am impressed how grainy this is. I am curios if this is a producto fo the low con setting where i am not recording true blacks (flat liner black in the wave form). Best! M
  3. David, cause its low budget......so low and i got this filters that don fauntleroy lent me as a favor and really like whatthe #1 is doing but cause i am lighting low con i was concerned. But thank you for your input and time. Things are looking good and made some mini tests where i increase the contrast (which was planned) and helps so all good. On another note I am curios but i tested the ASA of the camera by exposing to a gray card (quick way) with my low ocn setting in hyper gamma 3 and was getting a 160 asa. In other cameras I was always getting more around 320. Have you came acroos this rating on a f900r? thank you m
  4. Hey man, I really like the nanoflash, is small and practical and you get alot out of the 32GB cards. Only a couple times I would have problems like i press record and it wouldn't even if the card wasn't full but then switched cards and no problem. Nice to playback shots and so on. Yes I read the same that the sweet spot is 100mbs and called the company and the same info. I was curios that HDcam is putting 1440x1080 with a 3:1:1 on a 144mbs and the nano flash is putting more info in the same bandwidth which is 1920x1080 at 4:2:2 so there is more compression I guess but was explained its still better than the other option. If data management is not a problem why not get a better bit rate? I was told that is better to shoot Long Gop compression than I-frame on the nano flash as well. the other thing to check is that if the HDSI of the EX3 outputs sound as well. It should. The F900R does too. Make sure you are not outputting through the HDSI (it shouldnt) any on screen info like characters, menu etc because the nanoflash will record "Anything" you give it. As well I think you can use it with the 7d because it has an HDMI input. Movie is going well man! you? t best m
  5. David, Thank you for your response! I agree with everything you say but I came to a situation where I cant really do it in post or hope (I know how to do it and did post myself for some time) because is a small movie and the "DI" will be limited and I will be lucky to color correct properly. That said, my concern came from the right term you used "degree of fuzziness" the Soft-FX #1 would do. I don't have a 1/2 so my only choice is #1 which i like a lot and have been able to judge only from the 17inch HD monitor. I been using it in all the shots because as mentioned I am pretty sure doing it in post wont be an option and I want to achieve a certain softness and halation on highlights which are in a lot of over expose windows mainly and as well soften the skin. I am shooting on the F900R with a Fujinon HD Eng lens wide open, and with a low contrast setting and detail to "0". Lighting is high contrast but mainly done with big soft sources from windows, no hard light on people at all, on the surroundings yes. I feel when I bring back the contrast and a tad of sharpness the fuzziness will go away (I do not see much fuzziness beside one shot that rised my concerns). I feel the #1 is really subtle overall. In your experience do you feel a #1 overall would create to much "fuzziness" that would compromise the image (in wide shots and mediums shots) and make it feel too soft that looks out of focus? I don't feel is the case and most is pretty contrasty between key and fill but done through soft sources. As you said no guts no glory and I feel is worth using the filter in the case of this movie and I preferred it of BPM's in this particular film. But a more seasoned experience recommendation would be great. Thanks you and best. Miguel
  6. Do you feel the Soft-FX 1 lowers "sharpness" or "focus" to much in wide shots and mediums? I am using it on the F900R on a Fujinon HD lens for a really low budget movie and I like how it feel but haven't been able to see it on the big screen. I tested it in different frame Sizes and I see the effect but felt it wasn't a to much of a compromise in the image vs diffusing in a nice way. Just curios to see how you feel about it, if it will make the image overall feel a tad out of focus the #1 Soft FX. thanks! M
  7. Bobby, I am using the nanoflahs on the f900r but keep in mind to get the fast cards like the ultra IV (i am using extreme III) and it can only get now a 140mbs data rate (which is pretty much the data rate for the hdcam tape on 3:1:1). IF you get the faster cards you can go up to 220mbs on 4:2:2 best m
  8. phil, thanks for your response. Yes I agree with what you said. But this mini deck is so small is ridiculous. It hooks to the back of the camera and thats it. I think money wise for the small production it makes more sense vs the tapes need plus the HDCAM deck. The expenses are pretty much the same. Originally i we were going to tape but I emntioned I would like to use the P2 deck and get 4:2:2 for better color correction range and the rental house got this other deck called something I cant remember but s like a Nanomicro deck and goes to flash cards. It can record up to 220mb but the cards they have can go only to 160mb/s. I think everything is set to go this way its just that I found alter it went 160mb/s and as you said is a lot of info to put in a smaller data rate. From a practical point of view is not more complicated to go with the cards. I will play with ti tomorrow but we start next week. any other ideas would be great! thank you m
  9. Hi, I am shooting a movie pretty soon in the F900R and originally we were going to tape but Ideally I wanted to go to P2 cards though the panasonic deck to get 1920x1080 at 4:2:2 The production company has a Nanoflash recorder (or something like that) that takes 32GB cards and what we will be recording from the F900r is 1920x1080 at 4:2:2 at 160mb/s not 220mb/s because of the cards limitation. So my questions is what is better. I understand and know 4:2:2 is better over 3:1:1 but I am curious how compressed is the higher color space of 4:2:2 at 160mb/s vs 3:1:1 at 140mb/s and as well I think the tape records 1440x1080 and the card 1920x1080 out of the HDSI. So is better to go with the higher color space and pixel count at a similar data rate or go to tape? best and thanks! m
  10. walter, thanks for your response. Yes I am looking at Kinos for the safe film speed thing. any other suggestions in tubes? I had a couple bad expericnes with florecents even at safe speeds.... best m
  11. now i came to one option (money is better) to use single 8ft tubes and 4 ft tubes verticallyon the seems of the tiles where each one will give me about 70fc individually and whn i add them up will get more..is not gona be even but at least a geometrical lighting pattern. May shoot them directly at the white plexy or shot them at a 20*20 silver on eaach wall and spot reading should get about a T8...gona put them vertically.... any suggestions? thanks! m
  12. Hi thanks for your reply. Was looking at skypans but not sure if they will do the job with only 4.5 of distance and scpecially if I want toa void the hotspot of the fixture behind it... as well i can hang them but the falloff is huge to the bottom in that case... any suggestions regarding them? m
  13. So I am here dealing with the usual "make it great with little resources" type of situation. I am shooting a spec for a guy and he is abuilding a set (attached image) qhich has three walss 20ft wide by 12ft high. The walls are made of plexy glass and the plan is to backlight them evenly....thats the plan but now reality is this... Between the set walls and and the stage walls I only have 4.5ft of separation and I am trying to figure out how ti light as evenly as possible this walls... I have been bouncing through diverse optitions as Kino rigs (I would need a lot of them), Luma Panels (need to see how much it would cost) and cyc lights from mole...now this last option ins interesting, not ideal but may be cost effective (need to check price). If I put a bottom line and a top libe of cyc lights I would get a good exposure (even though not even) on the walls high enough to bring everything to "almost white".... Adding to this I want to shoot at a T4 and this units backlit at asa 125 would give me this for sure.... the reason of 125asa is that I am using 500 asa stock but we are gona shoot 96fps and possible 120fps and I want to light to a lower asa for t4 so I dont need to change my stops base on the fps and jsut work with ND on camera....which brings another issue.. working with cyc lights coming through the diffusion wall may cause a problem with flares (Primo zoom 17.5 to 75mm is the lens used) so this brings me back to a fluorecent plan but...planning still.. the other option with the cycs to to hand on the stage wall 20*20 white rags and light that so its glowing through the glass an avoid direct hits and glares...now not sure if I will get enough exposure because the plexy is milky white semi translucent... any ideas would be more than great! Thanks a lot and best M PS:image attached
  14. Called the pilot and look serious, Is a 4 person chopper so me plus 1, the camera mount and the pilot. IS a 4 hour flight over LA and PCH. In LA the pilot told me 400 feet is safe, some times could be 300 but 400 is safer so we will do that. On the PCH we can get really low to get closer to the car. AS well using a 10-1 zoom thats 14 inchs long and the pilot feels good about it so its not steaking out the door. We got a flight route so all good...now I was trying to get a UV filter with a 100% filtering of UV and couldnt find one! prf....so jsut got a 10% one.... Most probably I will be operating of the monitor and shooting different speed, between 24fps and 48 fps... Now with the RED any thoughts on shutter ebcause of the lateral movement, specially when we are in the PCH going fast. Should it be better a higher shutter? thanks m
  15. yea i was thinking of the 250mm zoom but the pilot ask me not to use it because the way the setup is done the lens would be sticking out the door and may interfere more than help so it looks like i may go with a shorter version. As well shooting 4k 2:1 but frmaing for 2k 2.40 so that will give me less field of view and make it a tighter shot...oh well... thanks m
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