Claudio Miranda ASC

Zodiac is David's next movie and it will most likely be shot on Viper along with Benjamin Buttons. My camera assitant and gaffer shot tests for Benjamin on the Viper and it looks good. As far as extracting files. The files I got were Cineon (or DPX) files . Steve transfered the files to a cd for me and I worked with it in Photoshop. At the time is was not that simple. I took almost an hour, after an already long night, to get the files. He has since wrote a programs that will make it much easier to extract the files off of the S2.

It was Finchers idea to shoot with the Viper to begin with. When we started using the Viper, we had numerous crashes. So in a way, I was glad it was not my idea. He now loves the camera, probably over 35mm. It is not cheaper. He likes the idea of seeing what he is getting. No unpleasant dailies surprises. He asks me "Don't you sleep better"? ... a little bit better. He probably will shoot his next movie with it. My transition was pretty simple. You still light. I use my eye, monitor, scopes and light meter. The light meter is used much less. I hate when producers states it saves time in lighting. The 400asa Viper takes the same time to light a 500 asa film camera. I saw the Heineken spot scanned onto film, then projected and it really looks great. I come from the film side and from that I see that the Viper is a great alternative and I can see it's advantages.

Thanks for the compliment. As Kevin stated, most of the info is on my site. http://www.claudiomiranda.com or you can go straight to http://www.claudiomiranda.com/heineken.html The lenses were not anamorphic. They were Zeiss Digi Primes and an Optimo 12-1. Most of the flashing was done in camera and some added later in post. Read the info on the site. If you have any more questions, I will be happy to reply.

www.claudiomiranda.com

I probably will not get the film untill later, then I'll put a cut down version on the site. There is still more work to be done. The Sundance version was not quite done. We will probably do one more color timing pass of the film along with some tweaking a couple of effects shots. I did not attend the screening at Sundance because I was having a baby at the time. I would have love to have gone. It seems to have been well received.

Thanks for the compliment. In a couple of weeks I'll put up The Heineken spot I did with David for the superbowl on my site. I'll put some information on, camera (Viper), lighting and other info.

I just spoke to Darek. We did put a sepia filter in to time out. What it did for them was to limit the color space. Blue was the only issue and that was why we avoided that color. Film stock was either 5296 or 5295 probably 5295. He was not really sure. Normal process through out. Shot with Arri using normal Zeiss lenes. 1:85 aspect. Hope that helps somewhat.

I gaffed the Crow. I believe we used 5293 and 5296. Darius is still a good friend and I will ask him some more details. We also used a yellowing filter (possibly a straw) on the camera to be timed out later. Blue when timed out would become to electric, so the color blue was not allow on set. Over all we kept the color to a minimum. The night scence were lit mainly with tungsten. HMI's definately too blue. We did use Joe Duncan, but I do not remember the exact package.

I have only used the camera in 4:4:4 mode. In 4:4:4 mode you have no color controls. I would much rather do the color correction later. There is ways to view a look on your monitor, while preserving the raw data. You can set look up tables on the S2 for rough looks, but I hardly played around with that to much. For the look of the upcoming Heineken spot I shot for Fincher, I was able to pull off stills from the S2 hard drives and color correct them later to be used as references. Once the spot releases, I will show the reference on my site. You will be able to see the RAW file and the final side by side www.claudiomiranda.com. The Viper deals well with highlights and low lights. For Xelibri, some of the practicals in shot light the people without blowing out or any other video artifact. On Heineken, we lit the street scence to very low levels. Letting the street lights blow. Shooting wide open for the most part. If you go too far in the toe end of the range, it does get a little noisy. You can get a better darker image if it is initially up, then crush it later. This helps eliminate the noise in the blacks.

I worked with Tony Scott as a gaffer (Crimson Tide, Enemy of the State & The Fan). The main filters that were called out were "Sunset Grads".