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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. 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.
  2. 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.
  3. I would top light it with the Kinos and send some hard light through the glassware from behind.
  4. 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.
  5. 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.
  6. 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.
  7. Why not? All it's doing is heating the fog juice. Could do that with a coffee can and a propane torch.
  8. Wow, looks real to me. Might be two stunt performers though. One to exit the window and one to run toward camera.
  9. 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.
  10. I once worked on a multi camera commercial project and during a prepro meeting, the much younger B camera operator (also providing a bunch of gear and a few cameras) actually said "I don't care about the money." That kind of thing is very alluring to producers working in markets where acceptable quality tends to be middle of the road.
  11. For what it's worth, someone once suggested an insect fogger to me as a hazer and they actually do work very well for small to mid size spaces.
  12. Shafts or beams of hard light will be visible with haze, yes. Ideally, the beams would span some distance in middle space, not just raking a back wall. And I'd think diagonal beams would be best if you can swing it. Another thing that can help is breaking up the sunlight entering your set so there are more distinct beams visible.
  13. It seems the trend as of late is toward smaller crews. I've spoken with multiple DP's and directors in the past few years who stated a preference for smaller crews at least in the realm I generally work in, which tends to be story-telling (b-roll, and interviews). I just today had a call with a director about shooting some internal pieces for a large bank featuring their staff. We both agreed that having a less obtrusive, intimidating camera rig as well as a small crew (just the two of us!) was the way to go, which of course we can get away with as long as expectation matches our approach, especially if we're willing to share tech duties to some extent. You just have to go into it having your azz covered. Stretching yourself thin means the chance is greater that things slip through the cracks. I've been shooting MOS spots lately with 2 G&E, an AC, PA, coordinator, makeup, a director, and we've been fairly comfortable while also nailing the intended imagery. Of course part of getting the shots with a smaller crew means, yes, eliminating certain things like slating which is a total buzzkill in my opinion, haha.
  14. A friction head might be better or even the Manfrotto 322RC2 locking ball head.
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