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Angelo Lorenzo

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About Angelo Lorenzo

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    Cinematographer
  1. Lavender scrims, also known as 1/2 singles, came up in conversation between myself and another DP while we were browsing a grip house. He mentioned that they were popular for beauty work in the past. For cutting 1/3 of a stop... is there any other reason to use these scrims? I couldn't make out any other effect on anything like highlights when I auditioned them in broad daylight. Am I missing out on something?
  2. I've been brought on late to the process with an upcoming commercial. Our director is in love with the idea of a Briese light (focusable parabolic umbrella) as the key light for a number of our set ups. Of couse, due to rental cost this basically destroys the lighting/grip budget and limits our ability to have more practical things like a doorway dolly. I would rather have an HMI bounced into silver speckle with some rim lights and some support from makeup with a bit of shimmer powder or glycerine. Any other suggestions to get 80% of the bresie look without the cost?
  3. Some time early next year I'll be DPing a short (depends on if I crew up on two back to back features or not) and I've been toying around with the idea of shooting at 48fps. Now, beyond the nominal issues of losing a stop or using more storage space, do you find that festivals are open or can project a 48fps film? We'll be shooting in 4K with a 2K deliverable but I'm sure we'll also make a 2K 24fps deliverable as well just in case. Thoughts?
  4. We do have a HDMI video signal buffer that powers signal across a pair of CAT5 cables. I am pulling focus off a large HD monitor when I'm not pulling from marks. I am not pulling from the camera's LCD, but I am loving the other advice given.
  5. That becomes convoluted by the fact that it is going to be run nationally. Will I have to remain on call and supply different copies for each major station that will run the commercial?
  6. Right now I'm working with a Canon 5DmkII with a Canon to Panavision lens adapter and Panavision Follow Focus or FIZ remote focus unit. Because focus is so critical on 35mm, are there any tips for improving my accuracy? How are you focusing? Via monitor? Marks? Or by eye, judging the distance of the camera to the subject?
  7. It's kind of a vague question because it could mean pacing of the script's story, pacing of the character's emotion, or pacing of the cuts in the edit room. All three contribute to the dynamics of a film As far as editing, I just read through In The Blink Of An Eye by Walter Murch, so suggesting the book is still fresh in my mind.
  8. Here's a suggestion that won't cost extra: when editing, convert your footage to black and white. The noise you'll encounter on your footage from shooting in low light on a handicam can be passed off as "artistic grain" in black and white. Limitations breed unexpected creativity.
  9. It can be digitally color graded. You're looking at a bump in the reds, yellow, and green which means a reduction in cyan, blue, and magenta. The main part of the style is the set is dressed to take advantage of these colors and the band might be lit with weak magenta gel to keep skintones more natural. From 2003 and the general feel, I would think the video is shot on 16mm film with a medium wide lens (whatever would be equiv. to a 35mm lens on a 35mm frame) because there is some distortion in the face during close shots.
  10. Not really a cinematography question but I hope someone can help. I just completed a tv commercial shot in high def, how should I edit it? For NTSC I know 1080i and 720p is the standard, would my best bet be 720p straight and have a 1080i network just upsample during broadcast? Also how do I know my video meets broadcast regulation as far as whitepoint, blackpoint, audio channel, max audio levels etc? Or is this something each network will normalize? Would I have to give the video to a mastering house to do all these checks and transfer it to tape or do stations take submissions of computer files or dvd/blu-ray? I've also heard various methods of inserting color bars and reference audio: 1. 60 seconds color bars and reference audio 2. 10 second black slug 3. Title Slate (how long?) 4. 10 second black slug 5. Video and audio material I've only filmed stuff that's been on the web and dvd, so broadcast standards are totally new. Any help would be appreciated.
  11. I am a 22 year year old wet-behind-the-ears cinematographer here in LA. I have a degree in Photography and that is my current professional trade. Over the last year my friends and I have developed a production company and although we're very up on digital video cameras, I feel that I could use a background in the lingo and operation of motion picture film cameras. I learned film photography in college and I'm extremely confident with being able to light a scene and love the fact that one of the partners in the company is a stage manager and designs lighting as well. Any books from the book list on the forum, or otherwise, that you'd suggest could fill me in? I have a $30 gift card for Amazon. I've never even touched a super 8mm let alone could think about handling some 35mm format, anamorphic lens, etc etc. Choosing photography over film in college has caught up with me so help is staggeringly appreciated. To be honest, I'd love to shoot some 8mm or 16mm for sections of a documentary we'll be working on in Sept-Oct of this year.
  12. Thought I'd ask in this forum because it deals mostly with frame rate conversions Now my production company and I have been use to working with Canon XL-1 and XL-2 cameras but we recently made the switch to full 1080p production via the 5Dmk2 cameras. Previously we had been fine with 29.97fps NTSC standard def cameras for web/tv/DVD but the Canon 5Dmk2 presents some problems with the pure 30fps. We're working on Adobe Premiere editing stations (we're a start-up and pc workstations were more affordable) and to avoid some of the preview playback hiccups of editing at 30fps, we've been color grading via Photoshop, then using 23.976fps projects and re-rendering in the timeline with no problem. This is great because it's the Bluray standard and a digital broadcast standard. Now for the actual questions: we may be producing independent films that will be transferred to celluloid so would we end up with a better result if we converted the original 30fps material or the 23.976fps material to 24fps? Our workflow is purely progressive scan now and being self taught, I'm wondering what best practices would be for this. Also I had trouble finding documentation, how is Premiere Pro handing the reverse pulldown from 30fps to 23.976fps? The clips are shorter so are they blending or dropping frames? or a combination? Also is the audio stretched/pitch matched? We've had the cameras since July 2nd so we've been scrambling to run all these shooting and editing tests with them before a new production we start in August. We're also under a little stress because of our ties with Panavision, we get to try out as well as develop some workaround solutions for their equipment so it can be made available in the future to 5DmkII and other dSLR based productions.
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