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claudio rietti

Basic Member
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About claudio rietti

  • Birthday 09/13/1979

Profile Information

  • Occupation
    Student
  • Location
    New York, NY

Contact Methods

  • Website URL
    http://www.claudiorietti.com
  1. $2300 OBO for the set. Standards, Babies, and Hi Hat email me for any questions or photos. contact@claudiorietti.com
  2. Full set of Mitchell sticks + Hi Hat available now, locally in Brooklyn, NY. Ti Titanium sticks. Comes complete with 2 x spreaders and Hard cases. Full list of items below: 1 x standard mitchell sticks (Ti brand - Titanium) 1 x baby mitchell sticks (Ti brand - Titanium) 2 x spreaders 1 x standard hard case 1 x baby hard case 1 x Mitchell Hi Hat Asking $2500.00 Available in Brooklyn for inspection. Feel free to email with any questions and I can supply more photos: contact@claudiorietti.com Thanks, Claudio
  3. Thanks very much for the help. I'll have a look into them. Much appreciated. Claudio
  4. Does anybody know a lighting rental company in the midwest (nebraska/missouri) who offer rates for individual items as well as a lighting/grip 3 -5 ton truck package? Any Gaffers out there? Shooting a low budget feature and need a good deal from the area. thanks, Claudio
  5. Also, when would a 3-phase gennie be necessary?
  6. what is generally considered to be an acceptable decibel level for shooting sync sound in regards to a generator at close proximity to the action. I've sourced out a 10K gennie at 70 dB. Seems to me that this is much to noisy for our purposes. Thanks, Claudio
  7. Any recipes for creating a nice warm sunset light coming through one bedroom window? I'm thinking Nan Goldin style orange, New York. CTO doesn't work for me.
  8. i am operating a short film where the director wants a smooth & steady floating pan from the back seat of a moving black cab. the shot will begin looking out the back seat window and pan 90 degrees or more to the rearview window in the front of the vehicle. I thought of using the vibration isolator to minimize the impact of a moving vehicle. I know it's not really designed for this but would this work? Again, the shot must be done with minimal impact/shake. Suggestions? Ideas?
  9. I am operating on a short film where the director wants a steady shot from the back seat of a moving black cab in london where the camera pans from a shot of a man walking on the street to the rearview mirror where we see his reflection as the cab drives off. I thouhgt of using the chapman stabilization system on a bazooka to achieve this shot and using a geared head to minimize the pressure applied to the head by the operator. I know that this is not what the stabilization system is designed for, but do you think it might work? could i get away with using a fluid head? any ideas or suggestions, please, are quite welcome. claudio
  10. thanks so much for the responses. this is definitely not the kind of thing i can pull off as i am working with a fixed shutter. claudio
  11. the infamous opening sequence of 'saving private ryan' has some strange flares coming mostly from the bottom of the screen upwards and they dance as if they were flames. they seem to affect the highlights mostly. Could you tell me if that was done in post or with a filter? Also, the shaky handheld camera...was some of that also done in post? I just can't imagine how those shakes were all so precise in every shot. It's almost as if they attached some sort of vibrator to the lens, but that would most likely throw the focus off. How can one achieve these two effects in camera, if possible?
  12. claudio rietti

    movietube

    movietube, apparently, is a housing unit for mini DV cameras that has a mount for 35 mm lenses. It says that you retain the depth of field and angle of S-35 with your mini DV camera. Has anybody used it and what do you think of it? Is it worth shelling out the 6,000 euros asked for the standard kit?
  13. thanks for the advice, but one of the stifling limitations is that we are limited to 400' of film, so stock is an issue. this is not a matter of budget, it's the rule of the competition which will be monitored closely. We'll have to work something else out, me thinks.
  14. hi. i'm shooting a spec commercial to enter into a student competition and the director wants to ramp. We are shooting on super 16 and the ARRI SR III is too expensive to hire. We can get a great camera (Aaton XTR) for free, but it does not have ramping capabilities, or the ARRI SR II for really cheap. I prefer the Aaton, personally, but that's beside the point. If we were to gradually slow down or speed up the image in post it wouldn't look quite the same, but would it be passable? Are there any other super 16mm cameras that has ramping capabilities that i might be able to get for cheaper? Does anyone know any camera houses in london that might have better deals for students on the SR III? The ones i have called have quoted me ridiculous prices (for what we can afford), but i will keep calling back hoping to speak to someone in the right mood at the right time of day. thanks for the help, Claudio
  15. right, i'm shooting on 16 mm 200 ASA Kodak 7274 and unfortunately i don't have the time to test anymore. i did test for the bathroom scene and it looks great, but i am worried that the light is unmotivated, but no worries on that, i'll put a window up. I will have a digital camera with me that would give me a rough idea of how the lighting is, so i will try that. any recommendations on articles on such a topic? Any personal experience with lighting night interiors and what to set the exposure as compared to the reading? thanks for the input.
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