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Christopher Santucci

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Christopher Santucci last won the day on September 3 2017

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About Christopher Santucci

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    Cinematographer
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    Buffalo, New York
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    Red Epic, 5DMKIII, EX1R

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    http://santucci-cinematographer.com
  1. If I had the budgets top tier A-list directors had, I might shoot on film too. Or, I would put that extra expense into something an audience would actually appreciate, like production design. I wasn't referring to them, obviously. And I'd be willing to bet if movie goers were polled, most if not all wouldn't know and wouldn't care what the movies they watch are shot on. Content is king.
  2. Just pull the wire harness out of the fixture and extend each leg as needed with quick splice connectors and 16 gauge lamp cord.
  3. What possible advantage could there be at this point to originate on film? Even IF it cost the same as digital? People are shooting popular features and commercials on iPhones & cameras you can pick up at Best Buy now. Audiences don't care about film. People watch more video/motion picture work daily now than they used to watch in a year, and are really only interested in content. I see work shot on film (stills or motion picture) these days by tech hipsters and for the life of me, I can't see anything different in terms of look from any other modern digital imagery. Film is more time consuming, offers more possible ways to ruin it (fog, dust, tears, scratches, crinkles, lab damage, etc.), and film is a one time use medium as opposed to thousands. I started out with film and I for one don't miss it. Clients don't ask for it and consumers/audiences don't either.
  4. Keyers these days are WAY better than they used to be, so I have to think it'd work. Green light is green light, either way. It'd be pretty easy to test this out.
  5. A film story has a beginning, middle, and an end. It has a likable protagonist struggling to achieve something against some form of opposition usually in the form of an antagonist while the protagonist experiences a definable character arc (growth) throughout the course of the story. Unfortunately, this kind of self-indulgent subject matter isn't really generally embraced by the public so you'd have to find some way to make it palatable to a potential audience, or find something the public likes as source material for a film. I'd suggest using CBD to lighten your mood and see if you can explore something as subject matter that's not the big D.
  6. Market prices for film cameras DO reflect that reality. You can buy an SRII for about the same price as a Panasonic HVX200 when it came out, 4 grand. Originally, I think that was a $30K camera, just for the body.
  7. I generally suggest what instruments and modifiers to place and where, then start tweaking over radio or directly. A lighting diagram is preferable to hand off to the gaffer and key grip since it cuts down on miscommunication, finger pointing, arm waving, and gives them a visual reference. I also like to produce story boards so everyone understands the setups but these are generally print outs of photos made during a scout on location with stand-ins.
  8. I would top light it with the Kinos and send some hard light through the glassware from behind.
  9. You could just bring enough batteries for the duration of the project and tweak settings in your laptop so it consumes the least amount of power possible. Also, you could use only SSD media to cut down even more on laptop battery use.
  10. Really not bad. I LOL'ed at the one part with the cheese puff, but the lighting and framing - not bad at all. Yes, it's traditional to not underexpose for dark scenes. As long as your highlights aren't clipping, expose those normally and "print down" in post. When using gel to wash a scene like that, might be good to have some white light on your actor. Maybe just have enough distance between talent and wall, so you can wash the wall with that color and then light talent with white light.
  11. I would key them from a high angle above the actor close to camera. Could be a hard source, or as diffused as you can manage. It'll look better this way than the alternatives unless you could back them out of the doorway a little so larger/softer side light was possible. If you manage that key so it's a little less bright than normal, it'll look less sourcey and you could put a hard side light on hallway guy and a hard back edge on the girl. As for the door opening, try flagging the key until the door clears the frame.
  12. Why not? All it's doing is heating the fog juice. Could do that with a coffee can and a propane torch.
  13. Wow, looks real to me. Might be two stunt performers though. One to exit the window and one to run toward camera.
  14. Storyboarder is probably the best. Although I do also prefer the old fashioned methods. One can draw out a frame a lot quicker than it even takes for a computer to boot up.
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