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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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  1. 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!
  2. 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!
  3. 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
  4. Hello! We should have a trailer soon. Color grading work has just finished by our fantastic colorist Juan Melara. A few stills:
  5. 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:
  6. 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!
  7. 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.
  8. 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
  9. Thanks Stuart. Do you know if the REC709 monitoring in Alexa is similar (or the same) as the Arri Log C to 709 LUT that comes with Resolve? Thanks
  10. Stuart, that was actually something on my mind. Have you ever rated the Alexa at iso400? Theoretically it should give some very clean shadows, so I'm interested in that. Never done it myself, though.
  11. Hey Stuart! I want to shoot at a low T stop. I'll be using the master primes, so I'll probably want to shoot at T1.3 to keep a very shallow dof and accentuate the soft light look. To do that, I'll probably have to use at least a .6 ND. I was thinking of taking a set of IRNDs anyway. Shouldn't be a problem to use them instead of classic nds, right? Thanks!
  12. Guys, just two more questions concerning the Alexa XT (camera that I'll be using for this shoot): 1 - for monitoring, do you simply use the REC709 viewing that comes with the camera? 2 - Not sure how's the IR pollution of the Alexa, but better to use IRNDs instead of simple NDs, right? Thanks
  13. David, so you have the same opinion as Stuart. This was probably done with an iris pull to overexpose the lightest parts of the image. You also said they are already semi spot lit? How so? Edit: just got what you said. Would you say the only light source is that spot on them? Thanks
  14. Thanks. My main question here is how did they concentrate the glowing effect mainly on the two actors. Is it a combination of a softlight source with eggcrates and the fact that they're using white (hence overexposure is faster than the rest)? And I wonder if the same effect could've been achieved without them using white. Thanks!
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