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Ale Capo

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About Ale Capo

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  • Occupation
    Cinematographer
  • Location
    London
  1. Hi guys, I am interested in knowing the structure of a production company in terms of managing budget (expenses , and profits) and I wanted to ask more about it. How does small/medium production company calculate its profit? Assuming that the client's budget for a commercial is 50k. The production Company takes a percentage of this budget (let's say 20%) plus a margin profit (let's say 50%) from every expenses they have. So: from 50k , the 20% percent goes to the production company : (10k) From the remaining 40k (expenses) the company takes a margin profit of 50% (20k). And therefore the remaining actual budget to make the commercial would be 20k. is that correct? I guess profit margin will change basing of various factors and more factors (like percentage for director etc.) would need to be included. However , is that how they breakdown? thanks, Alessandro Capomolla
  2. Hi guys, I did some research regarding flicker and slow but I still have a doubt and as I'm not able to test it I'd like to ask. Shooting with Panaura 5 tungsten and a couple of fresnels ( 650k and a redhead 800k). most probably the fresnels will be bounced to poly and then through diffusion frame. I have some shots at 200fps, in a 50hz country. If i set the shutter speed at 1/400, apart for the fact the I'mgoing to loose 3 stops, will the panaura 5 and fresnels flicker? Thank you.
  3. Thank you Robin for your reply, A dana dolly seems like a great possibility. In that case, I'll make sure to be 2 person working, also for follow focus reasons. thanks,
  4. Hi Alex, thank you for the detailed reply. The wall spreader would not be handy to rig for this type of shoot and in the kitchen I'm shooting in I cannot afford the risk of ruining the location.. I've been suggested a combi boom stand too. Pretty quick to rig and not bulky, do you guys think is safe too with the right counterweight? thanks, Alessandro
  5. Hi guys, I'm on a one man band shoot with alexa mini, masterprimes and ff5. It's a food commercial, where I would like to use slider for table/counter shots. Since the shots are only sticks and slider, I would like to mount the camera on a slider and leave it there throughout the day to get static and slider- shot more efficiently. (as you would do with a technocrane on bigger budget). My questions: -Is it more efficient approach than keep changing from sticks to slider? -what grip do I need with this camera kit? (slider- bowls- tripod(s?) ecc. thank you.
  6. Hi guys, I'm on a one-man band shoot where I'd like to have a Panaura 5 overhead on top of a kitchen counter. What's the right grip that I need? Potentially, can I achieve this by using C-stand, attaching the light to the end of the flag arm? (does the light fit the flag arm?) Thank you.
  7. Hi all, I'm shooting a commercial with split screen. One side is shot in London, the other side is shot in Pakistan. Two different stories are happening in the two frames and only in some shots they frames actually need to match (the character of the left side of the frame will touch the hand of the character of the right side of the frame). I thought of two ways of shooting this: 1- using on both cameras (left and right) an aspect ratio of 4:3 and then match them together in post into a composition of 16:9 2- using in both cameras an aspect ratio of 16:9 but taping the lens so that would show me only half of the frame Do you think these are valid option or would you go for something else? Another question is regarding camera resolution: I'm shooting in London with a Canon C300 in Full HD. In Pakistan instead, they are shooting it with a Sony a7 mark II in 4K Would it create complications when it comes to put them together? Thank you! Alessandro
  8. By "shiny" I mean a white that is bouncing light equally in its whole surface. As if the whole background it's a light source with the same amount of bounce in every area of it, similarly to the reference I pasted. Hope I exaplined better
  9. Hi guys! I need to light an interview where I want the white background to be quite shiny. I would like to avoid a faded background. This is a good reference of how I would like it to be: https://www.youtube.com/watch?v=_ynXKHC9Wo4 Do you have any suggestions of how to light it? Does it depends from the type of background? Because the producer got the cheap one from amazon: https://www.amazon.co.uk/Leaptek-Adjustable-Photography-Professional-Background/dp/B01CZOP3Y6/ref=sr_1_2?ie=UTF8&qid=1490012270&sr=8-2-spons&keywords=white+backdrop&psc=1 Thanks!
  10. finally found 2.39 flat on the Alexa simulator. POST CAN BE CLOSED.
  11. Hi all, I couldn't find the answer to this question: How can I set the 2.35 letterbox crop in the Alexa VF and MON OUT? I won't use anamorphic lenses, I just wanted the frame to be cropped to see how it will look in post. Most probably, 2.35 on MON OUT it's an option of the monitor itself, but what about the VF? Thanks!
  12. Hi all, I will have an exterior shot handhelds in 120fps. When I set higher frame rate, do I have to change the shutter speed to 1/240 ? Furthermore, will I loose two stops of light in this shot? My concern is whether I will notice the jump or not. Thanks! Alessandro
  13. ** Trying to upload a screenshot, can't visualize it
  14. I will not be able to test this shot before the shooting so I will bring the options to the director. Do you think with an angle like this (not profile but frontal 45) I should be able to avoid the camera reflection? Thanks!
  15. Hi all, I have a doubt for this shot: Early morning, a car is moving and the camera is rigged from the side of the car, pointing from out toward the driver. There is the car window's glass in between camera and the character who is driving. My concern is about the window's glass (possible reflections or any other inconvenient) Do you think I will have to cover the camera from the top is that it stays in the shadow? Is there anything else I should keep in mind? Thanks! Alessandro
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