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Mario Bosanac

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Everything posted by Mario Bosanac

  1. Hello, So might be having a total brain-fart on how I could do this but for some reason I can't figure it out at the moment. So I have a shoot soon and the DP will be working on the Alexa Mini with Cooke s4is. On this particular shot, most likely a 50mm, the distance from the nearest to the farthest subject is about 6 feet (as seen from the image below). We have a couple Arri Skypanels and (1) M18 available, along with some smaller 300w lights or so available for motivated practicals and such. My question is, the DoP and I want this distance to be in focus (split diopters not an option, a little too extreme for situation). How can I figure out ahead of time which aperture we should shoot at so I will know if we have strong enough lights available that we might be able to get close enough to the actor without blinding the set with light? I don't want to assume we'll have to go all the way to an f/16 or f/22 if we don't have to. Thanks!
  2. I am curious what the status is on the next AC Manual edition (Previous one written by Michael Goi). I would like to purhcase the book butI’m just wondering if I do so, if the next one is going to be coming out soon if I should just wait it out and buy the new one? Thank you!
  3. Hello all! So a client of mine wants to exercise the idea of filming on acceptable cameras in order to possible push the show to Netflix and other channels if they decide to. I came across this: https://partnerhelp.netflixstudios.com/hc/en-us/articles/360000579527-Cameras-and-Image-Capture and this: http://www.reduser.net/forum/showthread.php?159032-4K-Cameras-Approved-by-Netflix&s=329bf83c6478e836c5502202ab983083 My question is, how strict are they on recording formats and settings? I plan to shoot with a Canon C300 or so. If anyone has any insight on this, please let me know! Thanks! Film long and prosper!
  4. Hello all, I'm meeting Dante Spinotti (LA Confidental, XMEN Last Stand...) and Mandy Walker (Hidden Figures, Australia..) next week. If you have any questions for them specifically let me know and I'll post them later!
  5. Found the solution guys! Found specific wipes for the sensor. Thank you for your comments & suggestions! Happy filming!
  6. Landon, yes it's the background overexposure that's the problem. When I shot again this weekend I ended up shooting at a f/16 and my zebra stripes didn't show anything so it was an improvement. If I have issues again I'll talk to the lighting tech. Thanks!
  7. Hi all, So I’m working with a Panasonic 4K res AG-DVX200 camera for a show (shooting on to a stage of live dancers). The issue I’m having is the backdrop is white and slightly reflective. Even with zebra stripes on to try to maintain proper exposure, I’m still having trouble keeping proper exposure on dancer’s faces. What do you recommend? The lights color temp has to stay the same which is around 4750k and same with camera. What can I do on camera side to help facilitate this? I’m usually between a f/6 & f8 and need to stay in-between there. My co-worker was asking me for suggestions and suggesting possibly a LUT? Would this solve this problem? I will get a freeze frame from the Samurai Blade this weekend. Maybe that'll help. Let me know if you need any other info.
  8. Update: it's a smudge. Any add'l suggestions?
  9. I have this equipment yes, but it's NOT on the front of the sensor, it's on the back of the sensor. Should have clarified that
  10. Hello all, So my friend owns an Sony A7s ii and it has an issue. As you can see from the videos and pictures it seems that there seems to be lint/dust on the sensor. What would be the best way to clean that out manually. I have camera cleaning gear of my own. I've posted a dropbox shareable link because they're too big if files. https://www.dropbox.com/sh/m3z230zcdhos5fp/AADv5uaVWnCQyEm6hbzSdfwxa?dl=0 Any suggestions would be great! Thank you!
  11. Recently went to ASC to see Jules. Great guy! I'm on the Deakins forum as well but haven't visited it in a while. I'll keep on the look out for more events and forums like that. Thanks for the advice!
  12. It's the "going on set" relationship that I'm in search for: To be under someone's wing. Yes, this is a FANTASTIC resource and I use this website a lot. It's been very helpful don't get me wrong. I'm just more curious about the mentoring of one-on-one and in-person scenario. I figured it probably wouldn't' be for a whole show (especially a feature). Oh I see what you mean, good point. I don't wish to "jump the line" but I'm aware that this is one way that people have learned from DPs. So maybe I should take a step back. What advice do you have for reaching out to DPs for advice or questions even if I don't personally know them (like my Script Supervisor example)? Email? Suggest to meet for coffee? Etc
  13. Hello all, So as I talk to my friends and coworkers who are DPs and have talked to more ASC members about their beginnings, one common trait I have come across is that they have a mentor. Some have been taken under the mentor's wings by either the MENTOR asking them or vice versa. I want to hear from any other DPs and their experience with this? I was talking to a Script Supervisor on set recently and she was telling me that she emailed Script Supervisors that she hasn't even met and some have responded (union members) answering her questions and offered her to learn from them (as in to additionally come on set). Are there any experiences like this from any of you that you can share? What are some different ways to obtain and seek a mentor without coming off "forcefully" or "desperate" to get into the business? Thank you!
  14. Turns out I'm going to another event instead :/ Sorry man! Those would be good to find out though!
  15. I have the opportunity to meet ASC Gregory Middleton "Game of Thrones" DP tomorrow. I thought I might reach out to this forum and see if any of you have any specific questions for him and I'll post them after.
  16. Thank you all for the responses! I'm glad to get more in-depth opinions! I did notice that some of you were referring to the URSA. I was referring the BM Production 4k camera. NOT the URSA
  17. Compare/contrast a BlackMagic 4K camera and a Red Dragon I have worked with both but not enough with either of them to determine which one is better for the project I'm doing. It’s a thriller feature. I'm planning on getting Rokinon's Xeen lenses. We plan to shoot in either 2 or 4K I believe. I want to convince the producers and director that the BlackMagic 4K is ok to use so addl money doesn't have to be spent on a Red Dragon IF it's truly not necessary. They prefer to have a Red Dragon or an Arri camera of some kind because of the type of quality and the name behind it. I understand that the BlackMagic 4k does have less dynamic range than the Red Dragon. So that's understandable, but as far as Colorscience, other factors of image quality, could I possibly make an equivalent image on the BlackMagic 4k than I could on a Red Dragon? I understand this might be a vague question so let me know if I can make it any more specific?
  18. Hi All!, So I'm doing a project in an upcoming month or so and I need suggestions. I'm shooting most likely on a BlackMagic 2.5k camera and am looking to achieve a "gritty" look. I understand that it's not just the camera or lenses solely that would help achieve this but I'm curious if there are any suggestions as far as lenses that would help me in the right direction. I've shot multiple times with Rokinons on different cameras and have noticed this has creating a "gritty" dark look but I'm looking for a step up from this. Also what filters would help with this too. ND filters I presume? Thank you!
  19. Thank you for responding with feedback Matthew, I really appreciate it! I will keep that in mind about the professional credits. I do have more than a couple indie-features under my belt but what would constitute as professional and fall under non-union gigs? Another main question I have is, if I do version 1, I feel that even though I'm listing credits with the same role over and over, with the project names, the people reading it are going to be like "so what? I haven't even heard of that project?" Thoughts? As an update, most of my work comes by recommendation or referral nowadays but I understand your point about the resume being less important overtime and up to date. Thank you again!
  20. If you were looking for grips or an AC and I sent you a resume would you be more interested in: 1) a list of numerous projects Ive worked on UNDER the respective title - So I'd just list project names I've worked on, the more specific role I did, and the year - example: Grip & Electric: - Key Grip, "Project Name" Year My concern about this way is even if I have a good handful of projects I've worked on and the roles I've done, someone I'm sending it to might look at this and say "so what? I haven't even heard of that project?" and that it's not substantial enough or 2) a list of the responsibilities and experience of equipment and such I HAVE under that respective title instead? -example: Assistant Camera: - "Title" - 1st AC- responsibilities; equipment worked on Which of these would be better to go with? I originally went with the first one and then had a separate section down below listing the equipment I've worked with. Also my other question is, If I don't have a substantial list of either category "Assistant Camera" or "Grip" but have a lot of experience, should I still put them on separate resumes even though they'd be shorter (for now)? I've always been told not to put Assistant Camera and Grip on same resume Thoughts?
  21. Hello Fellow Cinematographers! I come to you bearing some suggestions and advice for planning and preproduction for DPing narratives. So as I am in the midst of preproduction of doing cinematography for my next narrative I have realized that I am trying to find the best, organized way to collect, manage and maintain all my ideas, thoughts, etc onto my computer. Right now it’s a mess. Currently I have the script on PDF Preview (Mac) and I’m making notes on that and then making the same notes on a notepad. I’m also separately writing down questions about extraneous ideas on Notes app on my Mac. Are there programs you guys and gals use that help with the visualization and organization process for DP pre-prod? I also use MindNode and Shot Designer. Thank you all! Film long and Prosper.
  22. I am using a Red Scarlet and am looking for a Lens set that has a gritty look (maybe uncoated) but also not so sharp and crisp. I prefer a lens a little on the warmer side. Suggestions? Able to have lenses for a PL or EF mount.
  23. Hello fellow cinematographers! So I'm doing cinematography for an upcoming project in which the director wants to shoot at the beach. Not having the ability to have any extra lights on set (unfortunetly), and that she wants to shoot on a cloudy day, how to I make the most out of lighting (given that i will have reflectors). We took a day to go to the beach and try some shots out. By the end I have a better idea of what the situation will be like, but did not keep in mind that we were only carrying 10-20lbs of equipment and I was exhausted after an hour (we were climbing up dunes and stuff). What are some tips that you would recommend for shooting at this location? I will be shooting with a Canon 5D Mark ii. Lenses will include: 17-40 L-series f/4, 35mm f/2, and 50mm f/1.8 What other problems will I come up against do you think? Thank you!
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