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Mariano Nante

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About Mariano Nante

  • Birthday 02/09/1988

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  1. Thanks for the tips, guys. I'll be checking "Atonement" soon, I've already seen it and liked the cinematography, but can't remember that part. I wouldn't worry about spill because I plan to film the screen separately from the actors, which may make things easier. The whole BETA thing is absurd, but this film is produced by my film school and the standard transfer they give us is BETA. And I don't have the money to upgrade it, so... what can you do about it. thanks again!
  2. Hey guys, Got a tough one. I'm directing a short film where people go to a movie theater, and I have to shoot what is seen on the screen. The film wil be shot in 35mm finishing in BETA (yeah, I know, what's the point of shooting 35 and winding up with a lousy format, but those are the rules of the game) However, what is to be seen in the theater's screen will be shot digitally (not really sure which format, probably HDV with some heavy post) I have analized several options, and it all comes up to: 1) Projecting in HD what I have shot and filming the screen. OR: 2) Projecting a green/blue light for chroma keying What are, in your opinion, the problems I may encounter with either option? I am quite worried about: A_ Flickering B_ The amount of light reflected from the screen to the seats of the theater: if we go with option no. 2, the light will be constant and not ever-changing like a film projection C_ noticeable cropping in the edges Well, what are your thoughts? Thanks in advance! Mariano
  3. Nice connection with Degas! There is also a great influence of American painters like Andrew Wyeth ("Christina's World", above them all) and Edward Hopper ("House by the railroad") Here are some links of those pictures: http://www.bu.edu/sed/caec/images/Wyethpainting.jpg http://www.ibiblio.org/wm/paint/auth/hoppe...er.railroad.jpg
  4. Well, I think it's a good movie, a very brave one considering Hollywood standards. However, I believe Malick's film resonates in a whole other level. The New World is a gourgeous film, as is TAOJJ, but the first one has a powerful idea behind it. Basically, Malick shows that nature is overwhelming because there is something wholy that lies in it. Therefore, the transcendental power of his sceneries and the beauty of his images have a deeper meaning to them, they are not pretty for the only sake of being pretty. In TNW, the princess' connection with nature is sacred, and it is this bond what every good hearted character in Malick's movies strives for but seldomly finds. I'm not saying that TAOJJ is completely void, but I feel that its remarkable stylization is lacking the spirituality of Malick's films. Sometimes it felt a bit imposed, as if the beauty of the image hadn't come from within. Having said that, I think TAOJJ was outstandingly well shot. Roger Deakins is undoubtedly a master and he deserves a place among the greatest.
  5. I thought it was a good movie, but I was a bit underwhelmed because it came from Cronenberg. I feel that he has become a bit to... mainstream (I can't find a better word) if I may say so. I miss the times when he was truly provocative and revulsive, when he faced our society with our deepest fears and our darkest thoughts. Now it seems you can't hardly tell him apart from the average gangster filmmaker. Except for the ending of the film and maybe for the sauna sequence...
  6. If you look carefully, you can spot Malick in the making of. In the part where they are near the sea, Farrell is talking to somebody off screen, the camera pans and immediately pans back, because the operator realised Terry was there. You actually can see a glimpse of him there. And there is another part where Lubezki tells Terry "This is the shot of the movie!" and the camera chooses not to show him. I do not think it is strange for the operators or the DP to do what they were doing. Malick shoots a LOT of film, and his method involves a lot of improvisation, as you may have seen. He wants to find unexpected moments, so he tells his crew to be aware of everything that goes around. If somebody wants to shoot a bird he saw, then he may do that. On The Thin Red Line, he told an operator to climb a hill and shoot the ground while running down. He didn't know if that would be useful or not. His directing style involves amassing a lot of material to help describe the world he has created
  7. Yeah, it's true. You should check out "Tell Them Who You Are" (http://www.imdb.com/title/tt0420952/ This documentary was directed by Haskell's own son. Halfway through the film he makes his father take the color-blind test and he fails it completely. Then he admits that he is color-blind and that he doesn't like to tell people about it because he wouldn't get as many jobs! ;) On the other hand, his condition allowed him to have an extraordinary sense of tonal range... I wonder what did he do while timing his movies...
  8. Hi, I'm about to shoot a short film with the XH A1. I have access to a 14-inch SONY monitor, which I'm almost certain is SD. I do not really know the specific model. I was wondering if I can plug this camera to the monitor via BNC. Can it be done? Will it be an accurate display? Will I be able to use the vectoroscope and stuff? I also have a 3.0 GHz laptop with Adobe OnLocation, but according to the official requirements it's not good enough for HDV... What do you guys think? Any help will be much appreciated. Thanks a lot!
  9. Watch Lynch's INLAND EMPIRE. Shot in DV. Pd-150. It's a beautiful trip.
  10. Well, for what I have read, Almendros was almost blind in the end of the shoot. That's why Wexler had to step in... And the funny thing is that Wexler is color blind! :blink: But together they made a masterpiece of cinematography...
  11. I think it's supposed to be a joke... not a very good one, if I may say so.
  12. There are tons of threads discussing the crop vs. squeeze mode issue with the DVX. According to what I've read, you loose as much information when you squeeze as when you crop in post. So, I would choose cropping in post, because it gives you the opportunity to re-frame if you need to (and with your shooting conditions, that may be useful). Be sure to mask the LCD correctly. Good luck!
  13. Me again. I found another competitor. The CANON XH A1. It's supposed to have the same image quality as it's bigger brother (XL H1). This one I can get for very little money. What do you think about it? How does it stand against the Z1? Thanks for your input.
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