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Stefano Stroppa

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    68
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About Stefano Stroppa

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  • Occupation
    Cinematographer
  • Location
    UK, Italy
  • Specialties
    DP // Editor // Storyteller
  1. Lol that'a good one ! Never watched an Oscar night and won't ever watch one I guess. But sure, people love to speak a lot, then they all act the opposite.
  2. Commercial breaks… What is sad about this decision is the fact that once again we’re proving to ourself how we are slaves of a society ruled by Capitalism, and so Consumerism. It got us used to have more and more and we can’t really think of ‘a future with less’. Ours is a society which can’t change, and won’t change and maybe doesn’t want to change. And so, paradoxically, I find this decision so similar to what’s going on with the climate change. We should treat it as a crisis, but we don’t, we can’t get out of our confort zone: I agree with Tyler when he says 'If they don't change this
  3. ‘On Film-making: An Introduction to the Craft of the Director’ by Alexander Mackendrick.
  4. A few personal opinions from my little experience: - The strong blue light is up to you, depending on the type of film you’re shooting (so I guess such a blue might fit well in a sci-fi scene for instance), also if the scene requires the actor to open the door, would that blue light all come out, in that case overpowering the practical you placed above the door? - What’s inside the door? 1. If that’s a sort of back entrance of a pub you can set up something like an LED emergency light? On the other hand if that's the main entrance of a pub you could place a red sign or something: th
  5. If I’m not wrong, Native 4perf S35 (which is simple the original frame size that was used in silent 35mm) is something like 24.86mm x18.66mm, with a x1.39 crop factor. The APS-C sensor which is 23.6mm x 15.5mm has a x1.5 crop factor. I think the F5 sensor is somehow between these two values, with a sensor size of 24mm x 12,7 mm (native aspect ratio of 1.89), so it falls into the S35mm sensors range. I’d not say that the 18mm becomes a 12mm, since the focal lenght of the lens doesn’t change, what changes is the angle of view. So a 18mm lens on the F5 (without the crop
  6. If I were you, I’d try not to use much lighting, as they could create problems with multiples shadows, and you are using two cameras, so you might have some space problem? I’d keep it really simple, using a naturalistic approach (and you save on the budget, especially if you're thinking of renting an HMI, which may be quite expensive) Depending on the look you want to go for, it seems to me by looking to the attached pic of the location that this has the right part of the diner, where the two subjects wii be sitting, which is sort of hidden from the direct sunglight of the windows, because
  7. Depends on how much you want to invest for the camera. Personally, the cheapest option, which would give you the best in quality of footage is probably the Blackmagic Pocket camera: it allows you to shoot RAW, Pro Res,10bit,…, sure you’d learn so much in term of color grading, you could pair the camera with a metabones speedboster to reduce the 16mm crop factor and gain 1 stop. (It doesn’t have slow motion though, and it doens’t record more than 1080p). I think the Blackmagic micro cinema actually records slow motion, and it has all the features than the pocket has. If you searching fo
  8. Hi all :) When using a metabones speedboster, how do you really gauge the true aperture the lens is giving you? I mean from a practical point of view, you keep it mind that you get +1 stop of light hitting the sensor. But from a tech point of view, if your lens is set at let’s say 2.8 (and it’s the fastest the lens can get to), does the camera shows you the added stop? Or is it a passive speedboaster that doesn’t trasmit aperture values? In case it doesn’t trasmit that, you just keep in mind that if the lens is set at 11, you could set f/8 on your light meter? So in practice c
  9. Try to ask Aperture in London (http://apertureuk.com/). I know they have in-house repair service for film cameras and lenses so it's written in their website. I don't think they repair 8/16mm and such, but I’m sure if you write them they’ll know where to address you.
  10. If it's a very low budget project I find it easier, just in term of rigging, the 2K to light the subject, than the kinos (and it's also easier to control, than something softer like the kinos are) Once you do the blocking you could adjust the 2K so it lights the subject and you shape it accordinly. I guess it’s easier if you have a room enough big so that your subject isn’t too close to the background, since then it’d be harder to separate the colors.
  11. Thanks Landon for sharing your feedback on the BPCC, I'm really that close to buy one, but still wondering between a Sony a6500 (what I like the most about it is the low-light sensibility and slow motion possibility) and the Pocket (what I like the most about it is video quality), and can't make up my mind haha!
  12. I did a similiar research a few months back, and found Lee filters website extremely helpful if you want to go tech. You might find this interesting for you as well: http://www.leefilters.com/lighting/diffusion-list.html
  13. Thank you David for sharing this. I agree with you on the 8bit, I don't understand why there's so much running forward to get all DSLR shooting 4K if they really want to be used for video, when you can only record 8bit 4:2:0. It'd be amazing if Sony alpha series managed to step up and go 10bit 4:2:2. I understand you can use an external recorder, but if the camera is 8bit, you are just putting a 8bit content into a 10bit container, but the image still stay 8bit no? (Alright even though the external recorder codec can be much better). One thing, when you shoot full HD on the a6500, does
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