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Luca Travaglini

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About Luca Travaglini

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  • Occupation
    Cinematographer
  • Location
    Italy
  1. Hi everyone, I am looking for an underwater camera operator that is located or will be around Cancun in Mexico, 8-10 meters deep. Anyone? Thanks
  2. Hello everyone, does anybody know if it's possible to upload customized LUTs on the Red One Mx, like on the Epic/Scarlet? Thanks
  3. I guess you're right about the steadicam operator. Actually at least three quarters of the production will be shot outdoors, so I am not particularly worried about the aperture. I found that the 25-250 is good enough at t5.6 and very good at t8.0, what concern me is how better would be a prime, a Cooke or a newer Angenieux at such aperture. I'll have to make a test about those options. Indoors I can always switch to the primes only, the most complicated scenes are outdoors (like a fighting shot) where a zoom could be a time saver.
  4. This looks to be an interesting combination too. I can rent those two lenses but I will first evaluate with the steadicam operator if he prefers to have a prime, otherwise I will test them for sure.
  5. Yes, I agree with you. Being a quite long zoom, I'll probably use the 25-250 for close-ups. I said A camera just because I don't know if I'll have primes or another zoom on the other camera. Anyway, I can easily get a set of Zeiss Super Speeds and I also love them on sharp digital sensors to naturally soften the image. There will be some steadicam work and I need something wider than 25 for a couple of shots, so a prime could be handy. Thank you very much for the advice!
  6. Hi everyone, next month I will shoot a tv pilot with 2x Red One M-X cameras. I actually own an Angenieux 25-250mm T3.9 PL mount, that I would like to use on the A-camera. As I can't find a zoom like that to rent in my area, does abybody have experience in matching this lens with other lenses? I am looking for either a zoom or primes to mount on the B-camera that would match enough with the Angenieux lens. I have PL, Nikon F, passive Canon EF mounts. Thanks
  7. I'm about to shot a music video with C500, i've choose it for slomo, 10-12 bit color depth and 'cause the director loves low weight and "philosophy" of Canon solutions (i don't love them so much). But i want to record with 2K YCC mode to stay light with data storage. It's a 10 bit 4:2:2 file that is enough for the grading we'll apply and final resolution will be 1080p (for tv and youtube). To record this format (at 25fps and 120fps for slomo) i need an external recorder that supports 2K resolution and 10 bit color depth, but wich one? Do you have suggestions? There is something between the entry level Ninja and the hi-end Gemini? Thank You
  8. I agree that 1D-C is actually the best, but even 1D-X it's better than GH2, cause it use pixel binning just like GH2 with all advantages of Full frame
  9. Are you sure? Digital sensors doesn't have a true native sensitivity, they are calibrated after construction at a standard sensitivity. I'm not talking about a big difference, but sometimes they can be a little different in exposure. And even photo lenses, of same model, may have small differences of contrast and saturation 'cause they are built in series and tested only a sample. In particular i had these problems during the shooting of a music video with three 5D MKII and Canon EF L zoom lenses. Nothing that a good CC can't solve, but a little more work.
  10. Film or digital? It's a bit problematic in digital, where it is easy there are some differences between 2 cameras, even if they are same model, with same lens.
  11. Hi Marco, i'm interested in the package. Is there any way to send it in Europe, eventually?
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