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Tiago Pimentel

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Tiago Pimentel last won the day on November 2 2018

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About Tiago Pimentel

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  • Occupation
    Director
  • Location
    Lisbon

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  1. Hi guys, Anyone knows what diffusion Deming used on Mulholland Drive to capture that Hollywood glow? And what would you use on a digital camera to achieve the same? In case you don't remember, here's the trailer. Thanks Tiago
  2. Thanks guys. Anyone knows if there are any real and pragmatic differences between the Zeiss Contax, Milvus and Otus lines? There sure is a huge price gap. Just wanted to know if it's optically relevant. Thanks!
  3. Stuart, would you recommend the contax Zeiss instead? Any other recommendation on a set of primes for a similar price tag? Thanks
  4. That is bad, Stuart. I've read so many good things about that Zeiss glass. People usually rave about the Contax Zeiss which is basically the same as the ZF and ZE. I think the T* coating on the Contax might help with more organic flares. Was the problem with the highlights related to purplish flares or was it more about fringing? Were the lens wide open?
  5. Thanks guys. What would you say are the main differences between the Zeiss Zf.2 and the Leica-R?
  6. Hey guys. I'm looking for a set of primes suitable to render a modern and snappy look that we're used to getting in Netflix and other platforms. They need to have that sharp but organic look. Whatever set I end up choosing, it's going to be used with Ursa Mini pro cameras with Ef mount. I'm torn between the Zeiss Zf.2 and the Leica-R though I never tried the Leicas. Any suggestions? Thanks!
  7. Hey guys, I'm looking for a set of prime lenses that will be my main narrative go to kit. My reference are the Zeiss Master Primes, but of course this is a kit that I want to own, not to rent. I was thinking maybe the Zeiss ZF/Contax might be a good alternative. Whatever kit I choose, must be adaptable to an EF Mount and must be great at rendering skin tones. A lot of people say skin tones are much more of a sensor thing, but I've tested lots of different lenses and they all perform differently on the same camera. Thanks!
  8. Tyler, thank you for taking the time to comment. Yes, doing a film that tries to convey a lot of its mystery through a poetic and enigmatic VO is always a struggle and I understand a lot might be lost in translation. Not that the subtitles won't translate the feeling, but there are some things that need to be felt, instead of just read on a subtitle. We are actually thinking on doing an "international" version of this film by recording the VO in english. I know I'm biased, but I really like this project and I think it has a very powerful subject. Let's hope the english VO might help 🙂 Cheers and thanks!
  9. Hey guys, Just finished a new short film and I wanted to share with this forum. It's not traditional when it comes to its narrative form, but we took extra care to make it look very sober and elegant and avoided the hyper realistic look that is usually present in this kind of subject. Hope you like it and please, feel free to comment and also to share your experience as to which film festivals we might be lucky with this movie. pass: insidescreenerfc Thanks! Tiago Pimentel
  10. Hello! We should have a trailer soon. Color grading work has just finished by our fantastic colorist Juan Melara. A few stills:
  11. Thanks guys. The film has reached picture lock and it's currently going through sound editing which should finish by the end of next week. We have the grading going at the same time, so I'm counting on having the film completed by the end of this month. Here are some stills and BTS:
  12. Thanks Giacomo. I am very happy with what we shot! I have a question for this forum, especially those of you who already worked with Alexa footage in post. Do you use the Arri LUT generator to bring the footage to 709 or do you grade from scratch in the raw tab and do the secondaries in nodes? I read somewhere (I think it was Arri website) that Alexa footage (LOG-C of course) should be used in conjunction with one of their LUTs, because it's the only way to uncover their color science. I've tried different LUTs from their website (including the one in Resolve) and they all look the same to me. Any thoughts? Thanks!
  13. Thank you all for some great input. Most of the production is over and I was looking at some of the stills. These are just log to rec709 factory LUT.
  14. Yeah, we'll definitely block the windows to shoot during daytime. Can this actually cause IR contamination? I'll take an IR cut filter and put it in all the time. Won't hurt to use it... Thanks
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