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Miguel Bunster Claudet

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About Miguel Bunster Claudet

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    Cinematographer
  1. Hi, I thought and everyone that i was over reacting but I turned it off as much as possible because we were there a few hours shooting with the bed but it was 90% of the time off. Did some research of how the beds work and its a lot of UVA light. Thanks for your reply! Best Miguel Bunster
  2. Hi, I got a last minute job where we are shooting a scene in a tanning bed, most of the shots are with the tanning bed a few feet away from camera but its always on. Some shots are with the lens in the tanning bed. Now we don't have time to test or change bulbs or fake it. So wanted to ask if anyone had experience on shooting around such a heavy UV device? Thanks and best! Miguel Bunster Claudet Chile
  3. Hi, wanted to know your thoughts on the following: 1-How good you think a DSRL like a 7D is to use as a color meter representation? Its close enough to represent color reproduction on film? I used it to good results but curious in your experience. 2-I am shooting in this super market place that must have almost every light source invented...all with a green spike average around CC +12 in Minolta color meter...which tells me to use a kodak 30m to time it out but thinking to use a +green 1/4 in my units (unless i missed calculated the color CC conversion) and then time it out...just feel skin reproduction ain't the best when you time out the green...any thoughts? 3-This market place has lights ranging around the 3800 Kelving and +12 CC. I will be shooting 5219 and if don't add green to my units i may just shoot with my tungsten units uncorrected and time the green out. Will try to have my units over power the ambient. My other thought is to turn all off and relight from zero...time consuming....any thoughts? Best of all and thanks! Miguel
  4. Hi, I anted to pick some ideas about how people like to light hair for shampoo commercials :) I like to mix soft edge light with a small hard spot for shine on the hair and use kino tubes some time. As well too i like to use silver bounces or gold bouces...similar effect with diffusion and gels i guess. I was wandering how other people approach it. I am shooting a shampoo commercial on limited budget and wanted to ask some insight on how you guys approached it? as well this commercial is shto in a black void with models in black clothes :) and some shots have 6 models at ounce in the shot where i was planning big edge soft lights with a soft top light... cheers! m
  5. Hi, Another thing I am looking into is shows like this one: http://www.youtube.com/watch?v=JVB8iJG1nSchttp://www.youtube.com/watch?v=JVB8iJG1nSc By looking at it i get a good idea how to mimic the look but any input or ideas on what units were used in this sort of show would be of great help. I love the idea to approach and mimic a look using old units and things like that. Thanks very much! M
  6. Hi, I been looking for some info regarding how cameraman Lothrop B. Worth shot the Tv show " I Dream of Jeannie". I have an idea how it was done by looking at the show and work done there but any info on articles or other sources of info on the lights, cameras and lenses used would be of great help. Thanks very much. Miguel
  7. Hi, I am shooting this commercial and it looks like we may have to use translites or printed backdrops on this real house location outside the windows. I still havent seen the location but have a feeling of the possible options that I will need the translite to be printed out of focus a tad. As well not much resources or time where I am shooting this commercial and I want to avoid lighting it and may just over expose exterior a tad and let translite go with it instead of lighting the hell out of it. I would love to hear any recommendations of anyone who has to shoot day interior with fake backdrops or translites outside. best of all! M
  8. Bruce, Thanks for your reply! most helpfull! Miguel
  9. Dom, Thanks for your reply. What you think of Lomos Spherical Lenses? best! m
  10. Has anyone used this camera and their Lomo lenses. I know them by name but had never used that particular camera and never shot with Lomo lenses..is for a possible project where production is looking at this. Would lvoe to get some feedback or opinions on it. One thing is the camera but I am curios about the lenses performance wide open specially for a lot of night exterior work. Best and thanks. Miguel ps: their web page is www.indi35.com
  11. Hi I will be shooting in Austin for a few days starting this weekend and wanted to ask some recomendations where to rent some accesories like IR Filter, clip on Matte box for a few days. Thank you! m
  12. hi thanks for all your kind replys. I think it iwll be ok its just not the level of diffusion and we were doing day ext CU on 18mm around t2.0 and 1.3 for specific reasons...now i had to drop the aproach in some scens for other reasons...its jsut that I like subtle diffusion and the difference between Soft fx 1/2 and 1 is pretty big I feel... i will post some stills pretty soon. This movie was the most crazy / fun one i done but the aproach to work at that stop needs a really planned aproach and it was hard here and we do have soft shots and the diff doesnt help. i was able to do a few test and is not the end of the world but it does make a difference...o well... thanks for your time and replys! Miguel
  13. I was shooting this small feature film in Chile on Red with Highspeed lenses which was a big challenge and fun. Half crew was student, half profesionals...now I could barely order any filters and I rented one only a 1/2 soft FX which i have used a lot lately and like it a lot. This shoot was so run and gun that i told the ac to put 1/2 fx and leave it there..its pretty subtle. I had no time to watch monitor so was shooting with light meter and on board monitor..all wsa well but when i looked at shots on the laptop later it felt more diffused than usual but i moved on...8 days later it was bugging me to much and I ask the ac to do a quick test with the soft fx 1/2 and when i grab it it says Soft Fx "1".. I go &*@(@).... Literally every day i mentioned "is the soft fx 1/2 in?" and nope it wasnt..so i dropped the "1" and got a new "1/2" and used that for the rest of the movie and some scenes where i wanted more detail and harshness didnt use any. My big concern is that 80% of the movie is shot handheld on a 18mm lens, for wides and CU. and most of the time at a t2.0 for a certain look. I am deeply concerned that the soft fx 1 will make all the footage look out of focus and not just fussy...I will test post sharpening and stuff but o hell.... Would love to hear your opinions about this and how you feel soft fx 1 on the mentioned conditions would make it just a bit more soft or totally "O my god that is out of focus" in the big screen. Best regards m
  14. thank you...and once you put it so obvious! :blink: Thanks John! m
  15. Hi, Its been a while since I worked in 50hz worldas apposed to US 60Hz I am shooting a project overseas on 35mm and we are planning to do 23.98 - 24 - 30 & 36 fps. I generally carry around all my info, manuals etc but not this time :( . What are the safe speeds / shutter combination for working under 60hz at this frame rates or the formula. Somehow I have a blank spot! And will be working with magnetic / electronic HMI and shooting tvs under fluorecents. thank you!
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