Valentina Caniglia

Dear All, I shot a feature film in Palestine in October 2007. The director contacted me today to ask me if we could make a day shot into night. I know that we could do this in DI but is it possible to do with an optical printing? Let me know Thank You all Vale

My name is Valentina Caniglia I have been filming as a cinematographer for a while all around the world. I have been shooting mostly feature films, music videos, and commercials. I just wrapped a feature film in Palestine and I would like to have comments or advises about my reel and about the presentation of my work. This is my website: www.valentinacaniglia.net click on showreel and you can see narrative, music videos and commercial reels. Let me know what you think Thank You Valentina Caniglia

Thank You Valentina

I am shooting a feature film in Middle East with S16mm a month and I would like to know some information about film processing. The look I am aiming for is desaturated and contrasty. I was thinking to do bleach by pass on the negative film. What would be be the results? If the production doesn't want to do bleach by pass on the negative, Can I achieve a similar look if I underexpose the film and process normal? If I use S16mm Kodak 7217 200T and 7218 500T and I underexpose 1 stop and print normal what would be the final look? I will do test but I would like to know your opinion before. If any of you have had any experience with this developing process let me know. Thank You Valentia Camiglia

Dear all, I will be shooting a music video for an European band. They want to shoot in PAL. We will be using the Varicam. More than one Vendor told me that HD is not PAL or NTCS and that 24p/50 can be converted in 25p/60 PAL. An engeneer in the camera rental house will do it. I would like to know if is true. More importantly I also would like to know if I use HMI with a 25p./60 do i have to switch the generator from 50hz to 60hz and put the HMI in fleker free like I do when I shoot 25p in film? Let me know Thank You in advance V.

Hi all, I am shooting a film with the Varicam and I did a test yesterday to try different shutter angle options in combination with frame rate. My first setup was film rec mode shutter 1/60 , 24p. I watched the monitor and saw a slightly blurred effect on the image when the talent was walking. I changed the shutter at 180 degree with 24p and 30p. I also tried variuos combination with shutter and frame rate but blurred effect was still there. Anyone knows what is the regular the shutter's angle set up for Varicam 24p. in NTSC? Thanks V.

Thank You to all about your advises. I will definetly test and will work with my DIT to make desaturation in camera. I always like to do more in camera than in post. Since Frank Barrera mentioned about transfer the HD footage shot with pro 35mm to film will decrease the sharpness. I would like to know more about this issue. I shot already with pro 35mm but never transfer to film. Any concerns that I should be aware of? Thanks again V.

Dear all, I am shooting a film in feb. in HD that will be color corrected in telecine or DI projected in HD and if we are lucky to find a distributor we will transfer in film. The director and I are looking for a desaturated look. We will be helped from the production designer to achieve this look. My first recommendation was to shoot with F900 because the colors of that camera look more desaturated. We have many exterior shots shooting in the forest and no budget to film with F900 so we may go with Varicam and the pro 35mm adaptor. Any ideas on how to manipulate the menu on the Varicam and achieve a more desaturated look? I also wanted to ask about the aspect ratio - I was thinking to shoot on 2.35. Do I have to frame for 2.35 and crop it later? Thank you in advance V.

Dear all, I am shooting a feature film in feb. One of the scene will require a kino in frame flickering. Do you have any ideas how achive that? I thought about plugging the kino on a flicker box or kino flo w/ballast 512DMX plugged in a flicker box. Any other ideas how to achieve that? Thanks in advance V.

Thank You to all for your response. I am not still clear though how much I have to open for Arri 50mm macro and arri 100mm macro. I would like to undertand the arri chart when it says 1:1 or 1:2 ect. Thanks a lot V.

Hi all, I am shooting a miniture commercial in 35mm. I am ordering the Arri macro 50mm and the arrimicro 100mm. I would like to know how many stop do I loose using a 50mm macro or 100 micro? How do you calclute the T stop when you have these lenses on? Do you just measure the light with lightmeter and calculate the stop loss in relationship? I would like to use a periscope lenses. How do I calculate the T stop with the periscope? If I use diopers +1,+2,+3,+4,+5 how much T- stope I loose? Thank You to all V.

Thank You David. I apologize if I open this discussion one more time and I appreciate your help. I need to ask you another question though if you don't mind. Since I want to use the pro 35mm adaptor with cine lenses the best way to shoot 2.35:1 is : using spherical lenses frame it for 2.37:1 (after I go on the menu and I click vista 2) and crop it in post? Thanks V.

Thanks to all, Since I have major stadycam shot and crane shots the cables that will connect the deck will cause me a slightly problem. If I use video mode and I color correct most of the images in camera do I need a DIT (Video engeneer)? Also, if I use tapes the images will compress and I will loose resolution. The best thing is using the data info and download to a post facility every day. This could be a problem if we will be shooting the most of the film in the middle of the woods in Florida. Do you know how more expensive would be to rent a camera in compare to rent a Sony F900? Thanks a lot. V.

Hi all, I am using the F900 for a feature in January. I would like to frame for 2.40 aspect ratio. Is Sony has a groundglass marked 2.40? Should I frame for 1.78 or 16x9 and squeeze the image in post? If I want to shoot with a pro 35mm adaptor with Anamorfic lenses can I do it? What is the the best for HD if I want to have the final film with 2.40 aspect ratio? Thank You V.

Hi All, I am shooting a feature film this winter in Florida. The 80% of the locations where we will be shooting will be in the woods Day and Night. The producer wants to shoot Sony HD 24p F900 with pro 35mm adaptor. I used the Cinealta for many occations but I don't like how it holds the highlights in the day so I recommended to film the day scenes in film and the night and interiors in HD. I also recommended to check into renting a D-20. If we will be renting D-20 what exactly we need to rent in order to get the job done. How we should record images? I know that D-20 records uncompressed images into a data hard drive. Do we need also a deck to record on tapes? What are the disadvantages or advantages to use this camera instead of using a HD 24p. F900? Can we record on an hard drive an ship everything to a post production? I will have an DIT with me so mostly of the color correction will be done in camera. Do you know of any DP who shot a feature with the D-20? Thank You V.

Hi all, I am supposed to film a Bollywood commercial soon. The director asked me to rent a 35mm with a S35 gate. I have two questions. If I shoot with a S35 mm gate what ground glass I can use? Can I use a 1.85 marked ground glass? If this commercial ends up in TV why someone would shoot with a S35mm gate? Sorry for my basic questions but I have never shoot with a S35mm gate. Thanks V.

Dear All, Thanks for your response. Right now I am facing another reality. The producetion decided to go for S16mm using an Aaatoon XTR. I spoke with the camera rental house and they told me that the Aatoon can't get the shutter angle to 210 or 360. You can only open the shutter angle. The only alternative to get the blurred effect will be shooting in 6fps and transfer it in 6fps. Do you have any recommendation in how to create the blurred effect? Thanks V.

Thanks to all of you for your response. I have one more question for David to get things straight. So the scene in Saving Private Ryan was not shot with different shutter angle but with 6fps and tranfer it with Meta Speed at 6 fps. When I shoot on 6fps and I go through the telecine should I tell the lab to use the metaspeed or I just tell them to not transfer the footage in 24fps but in 6fps? Thanks V.

Thanks to all of you. I have another question. 1) If I close my shutter angle at 360 what would be my exposure compensation? 2) if I shoot in 6fps and I step print should I have an explosure realtive to the 6fps? 3) How should I calculate the explosure if I will have the shutter removed? Thanks V.

Hi all, I am shooting a film and I would like recreate a blurred effect like the opening scene of Saving Private Ryan or the woman in the bar waiting in 2046 (which I think is double explosure). If I open the shutter angle at 11 or even more would I be able to achieve the blurred effect or should I close the shutter angle? If you can give me any idea let me know. Thanks V.

Dear all, I recently saw a new 35mm print of Fallen Angels and I thought it looked fantastic. I would like to know if any of you knows any technical aspec in how Chris Doyle shot. I think that his usage of the soft red and yellow palette is great. The contrast on the black and white is brilliant. I read that he shot on Fuji and I saw that he must have pushed the stock and putting some nets behind the lens. Any thoughts let me know. Vale

Thanks David, I shot variuos films with a tungeten light and a daylight (or viceversa)film for a special look and I know what you mean. I will do some tests based on your suggestions and see how exactly will achieve what I am looking for. Thanks again. Vale

If I use and HMI (5600K) with a daylight film what color temperature should I achive to get the yellowish hue on the light? or If I use a tungsten light (3200) with a tungsten film what color temperature shouls I achive to get the yellowish color on the light? A good example. I recently saw Traffic and I was looking at the mexican footage that looks yellowish and golden. Anybody knows how they achieved that? What film stock or print and what kind of proces did they use? Thanks Vale

Thanks to all of you. If you would guess about a color temp. for the yellow light what would that be 28K or 42K or 38K? Thanks Vale

Thanks for your answers. I am aware of the power of color correction but I want to achieve the golden look in production. I will be working with the production designer as well on that. Do you have any suggestion of what exactly I can do in production to achieve the golden look with the lighting? Which colored gels can give me that look? What kind of lights you suggest I can use to get the look and more importantly which color temperature is the yellowish light? Thanks for your help Vale