Valentina Caniglia

Dear all, I saw Cinderella Man and I liked the usage of a yellowish 1940 light. I would like to know what is the color temperature for those lamps that they have golden/yellow antique look. Does any of you knows what kind of gel would work in order to get that color palette? If I use HMI's should I put 1/2 CTS or 1/2 CTO and a tonality of yellow gel (which number for Lee or Rosco) on the lights or if use tungsten which gel should I put in order to get the golden antique color? Thanks Vale

Hey David, the director and I were thinking to shoot a monitor at 16fps. What adjustment I have to make for the shutter speed to avoid seeing the scrolling bar? What happen if I shoot 16 fps with 180 degree shutter speed? Thanks Vale

The LCD could be an option. Which rate should I set it? Thanks for your help. Valentina

For running lines yes I meant - the vertical scrolling bar that you commonly see when cameras are pointed at tv sets.- I can change the shutter angle at 144 and it will be minimal. Do you know any other way to completely not having the vertical scrolling bar and shooting at 180 shutter speed with 24fps? Thanks Valentina

Thanks for your response. If I use the Plasma monitors I can shoot it on 180 shutter and 24fps? Valentina

Does any of you knows what is the stop compensation for the net behind the camera? Should I open 1/3 of a stop or 2/3? Thanks Vale

"Yes, 144 degrees at 24fps = 1/60th. If shooting a PAL television, shooting at 25fps (180 deg. shutter) will work, too." Thank You Alvin for your response. Let me get this staight though. If I am shooting a Tv set in 35mm I have to change the shutter angle in 144 and keep 24fps in order to see the clear images running in tv. I won't have the problem to see noises like running lines ect. There is not motor that I have to syncronise with the motion picture camera? The reason why I am mention it is because they told me so. Anyway, Thanks again Vale

Dear all, I need help. i have two important questions for you. I will be shooting a music video in 35mm in three weeks. I would like to use nylon stocking behind the lens to have my highlights glowing. I would like to know what kind of stock should I use and which color. Some DPs say that the Christian Dior should be the one to use but I am not sure about the color. Does really matter if you are using a black stock, a white or beige one? If it does what the difference to the effect? What about if you are using a different brand? Also, I would like to know how should I film regular tv monitors in order to see the image clear without noisy lines scrolling. I know that I could use Plasma monitors but if there is no budget to rent those ones, should I change the shutter angle or frame rate on the 35mm? I shot a tv monitor in HD and I had to change the shutter speed on 144 degree. What about in 35mm? Is it just a matter of changing shutter angle (which one?) or renting a motor that sycronise the 35mm camera with the tv monitor? How it does work? I will appreciate your help. Valentina

Landon, Don't be so harsh on me or Tim, I am so sorry for the incovenience. My computer gave me had some problems in typing. I wanted to cancel the other messages but I couldn't. Anyway, Thanks for your advice. Vale

Dear All, I am shooting a music video where I want to put a video camera DVX 100 on the talent and make it spin 360 around while he is walking. I would like to know if there is any rig in order to spin in the camera on a body of a talent. I guess I will need a circle shaped rail where I can put a support with wheel and a wooden plate. Do you know if there are any rigs like that? Please let me know Thanks Vale

Dear all, I am shooting a music video where the director wants to have surveillance cameras all over the set. We will be combine the 35mm look with video of surveillance, VHS and S8. I suggested to use the dvx 100 and degraded in post but the director likes the look of surveillance cameras. Since he is coming from special effect and animation background he told me that if you degraded the dvx 100 the look will never be like the one of the real surveillance camera and if you can do it you will end up to spend time and money into it and we don't have that. Do you know what kind of surveillance cameras can I use in order to have an explosure? I were also thinking to use the camera that doctors use for looking inside the stomach. They have a shape of a tube. Does anyone knows the name of this tool? Also, I am planning to rig of the video camera around the body of the talent and let the camera rotate around him while he is walking. I know that Doggicam makes the body cam but I need rotation instead of a stationary camera on he talent. Does anyone has any idea how to achieve that? Do you know if there is any device in order to make this shot happen? Any good cinematographers, key grips, gaffers that can help me out? Any ideas ? Thank You Valentina Caniglia

Thanks to everyone so much for your infomation. They were really useful. Valentina

Dear all, I am shooting the first part of a film in 35mm. In one of the scenes I would like to change the shutter speed and achieve at 11-degree shutter. I would like to know what is the calculation for T-stop compensation with the changing of the shutter speed (11 degree, 30 degrees ect.) and if I can use the Arri 535B to achieve such a process. If not what camera can use to do this operation? Also, if anybody knows if there is any flickering problems in changing the shutter speed when you are using HMI's. Thank You Valentina Caniglia

Thanks David, What about if I do the bleach by pass on IP and then transfer to HD ? What you think? Valentina

Dear all, I am filming a period film in 35mm which are involved many exteriors and some interiors in the courthouse. The director and I are aiming for a desaturated look with earth tones and more contrast. I was thinking to use a silver retation with a combination of chocolate or tobacco filter. The producers want to project in HD until they don't find a distributor that will help to make prints. I would like to know if any of you knows someone in Technicolor LA (if you can drop me some names). I used them in Italy and I would like to use them in LA as well. I am planning to use the new Vision 2 200T (or should I steak with 5274) and vision 2 100T and do a bleach by pass at 60% or 100% (Should I do on the neg. for more contrast?). I want to make some tests but I was wondering if any of you used these stocks and what you think about the contrast. I am not going through DI and I am praying for an overcasting day but if the sun comes out even though I will use 20x to diffuse the light for the wider shots doesn't work, I would like to know if I will be able to match on a telecine session. Also, Any of you knows a name of a program where I can shoot still with my digital camera and correct them to communicate with the timer? I watched The Crucible and I want to go with that look. Anyone of knows technical info about that film? Thank You Valentina

I am sorry if I didn't mention it. This short will be for telecine transfer no for print. Thanks Valentina

Hi! I am shooting an exterior scene upstate NY w/snow. I want to have a fine grain but if I use 50D I will have to fight with the stop snce it will be an overcasting day. I want to desaturate the film stock with a slightily brownish look so I am thinking to use a 250D 7246 w/chocolate filter and do a bleach by pass to desaturate. Do you have any suggestions of how to achive this look without do bleach by pass ? What film stock you recommend and what filters you suggest to use when shooting in the snow? Thanks Valentina

If I do cross process the stock will be 7240 or 7251. Thanks Valentina

I am shooting S16mm and it will be for telecine and eventually a future print. Thanks Valentina

Hi Everybody, I am shooting for the first time in Sacramento in the middle of yellow straw field and some interiors in a comedy club where there are many colors. I would like to have an high contrast look and accentuate the yellow straw of the field. Which stock will be best deliver this look and if I push the stock 1/2 stop will I be helped? I was thinking to cross process the stock for exterior but it will probably give a greenish look instead. Exterior choices could be 250D,100T or 200T. Any suggestions? For the interior Istill would like to have contrast but get also more saturation. I was planning to use Vision 2 500T or Vision 200T Any recommendation about using a contrasty stock and pushing 1/2 stop? Thanks Valentina

I recently saw the film Northfolk in Italy and I really would like to congratualate with the cinematographer David Mullen who did a great job! I thought it was had a unique look. The lighting and the composition were really good. I would like to know more about the techinical info. Does anyone of you knows what kind of stock has been used? If there was any special treatment done to the stock? What kind of filtration has been used? How the bluish cold feeling was achieved? Thanks Valentina

I recently saw the film Northfolk in Italy and I really would like to congratualate with the cinematographer David Mullen who did a great job! I thought it was had a unique look. The lighting and the composition were really good. I would like to know more about the techinical info. Does anyone of you knows what kind of stock has been used? If there was any special treatment done to the stock? What kind of filtration has been used? How the bluish cold feeling was achieved? Thanks Valentina

Hi Everybody, I would like to know more about the blech by pass process. Many labs told me that is better to do bleach by pass on the print instead of the neg. Two reasons: one is because if you damage the neg. and that would be a problem and the second one is because the bleach by pass on the print stock makes blacks densier. is it true? Also I would like to know what happen if you shoot something that you don't need to end it up to print because it goes straight from film to video like commercial ect.? Do I have to make a workprint and work with it ? If bleach by pass is used on the print stock which print stock would be the best to do it? Any suggestions about how to treat the negative when you do bleach by pass would be appreciated. Should I overexposed 2 stops to have the process accentuated or underexposed and then push ect. If anyone of you knows a way which I can test bleach by pass using a motion picture film in a still photography's rolls please tell me. I don't know if lab for still photography make this process. If you know any labs who does it for still photos. let me know. There is a process called ENR. What is the difference between blech by pass and ENR. There is any percentage that the lab should be aware of if I wnat to accentuate the desaturation or the griniess of the look? I hope you can help me. Thank you Valentina

Hi Everybody, I would like to know more about the blech by pass process. Many labs told me that is better to do bleach by pass on the print instead of the neg. Two reasons: one is because if you damage the neg. and that would be a problem and the second one is because the bleach by pass on the print stock makes blacks densier. is it true? Also I would like to know what happen if you shoot something that you don't need to end it up to print because it goes straight from film to video like commercial ect.? Do I have to make a workprint and work with it ? If bleach by pass is used on the print stock which print stock would be the best to do it? Any suggestions about how to treat the negative when you do bleach by pass would be appreciated. Should I overexposed 2 stops to have the process accentuated or underexposed and then push ect. If anyone of you knows a way which I can test bleach by pass using a motion picture film in a still photography's rolls please tell me. I don't know if lab for still photography make this process. If you know any labs who does it for still photos. let me know. There is a process called ENR. What is the difference between blech by pass and ENR. There is any percentage that the lab should be aware of if I wnat to accentuate the desaturation or the griniess of the look? I hope you can help me. Thank you Valentina

Hi everybody, I recently saw a short film from BMW shot by Robert Richardson. I admire his cinematography he is great in wherever he shoot. I was in particular impressed by the wonderful job he did on Powder Keg a short film series of BMW. I notice that he must have done a bleach by pass on a high speed negative such as a 500 or an 800 with a S16mm. if anyone of you knows more about how he treated the negative, how much he overexposed and what pecentage of bleach by pass he used please pass me this information if you can. Also, I saw what he did with the B&W on Kill Bill. There is a kind of glow on the highlights which accentuated the contrasty look that is great. if you know how he did that I would love to know. I would like to contact him by e-mail but I had hard time to find his info. If anyone knows how to contact him would be really useful for me. Thank You Valentina