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Joao Papa

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  • Occupation
    Director
  1. Actually that was what they said, but I got lost writing it properly since english is not my first language. They wanted to change the balance, not the dynamic range.
  2. I'm a director, but most of the times I will also be the dop on my films. When I am not, though, I have the chance to work with other great dops and learn a lot with them and their methods. I've recently shot a commercial with a ASC dop and other with a ABC dop, and they both did change the ISO a lot during the same film. When asked why, the answer was simply that this way they would change the dynamic range according to the scene. Even though that makes sense, I have always been doing the same just changing the exposure and balancing my fill lights, usually working with ISO 800 during the whole process. I was wondering how do you guys approach that, and why.
  3. Para quem afirma, sem nenhum conhecimento, que a fórmula 1 de hoje em dia é mais carro do que piloto.http://www.totalrace.com.br/site/noticia/2013/09/a-f-1-mudou-mas-habilidade-e-a-mesma-da-minha-epoca-diz-prost

  4. Todo mundo ai falando bem do Papa porque ele disse que não era pra julgar os gays. Sou Papa há mais tempo, falo isso há mais tempo e ninguém nunca me elogiou.

  5. Aqui é trabalho! Muricy Trabalho

  6. Como tem gente falando de rock in rio depois desse episódio de Breaking Bad?

  7. Muricy, seu lindo.

  8. I trully believe that this is a good mental exercise for any director.
  9. Vai Muricy! RUMO AO TÍTULO!

  10. breaking bad omg.

  11. está rolando no MIS, de terça a domingo (até 29/9), exposição completíssima sobre o Verdi, com curadoria do meu pai, Cleber Papa. Se você não for, nós, os Papas, te mandaremos pro inferno.

  12. I'm having a hard time trying to edit my post.
  13. "ohhhhh... éhhhh... como você chama mesmo?" - senhoras e senhores, minha mãe, Lucimara Carvalho.

  14. As a director I usually give the talent my best mood. Actors are, as a rule, the most insecure people working on a film. And that's because everybody is being able to watch they while they work. And everybody is actually doing it, and judging it. Everybody but themselves. The main goal here is to be trusted and make them more comfortable so they can have a reference point on the set. If the talent stop believing in your judgment, you're screwed. And even more screwed if they think you just don't really care enough.
  15. Hi, I'll be filming on alexa for a picture that doesn't have much time for post production. I've been advised to use Pro-Res 422, since this will make the render time on Color shorter. I won't create a really specific look, or anything like this. Probably a little more saturation on the high lights, color balance and contrast. Is it ok to film using the 422 instead of the 444? Will I be able to achieve a good enough final image? And, also, I've been told that the underexposure on Alexa makes color correction a little harder. is that true? sounds like bullshit for me.
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