Giacomo Girolamo

I can't find it. It's available for all the markets or only USA?

23 hours ago, Alan Kovarik said:

I dont have any experience with 35mm film cameras. I own Canon 5D MII full frame camera. I wonder what full frame camera lens would be equivalent to Hitchcock's favorite 50mm movie camera lens. If I am right, it would be something around 70-80mm on full frame sensor. I am a bit confused, because Hitchcock used the 50mm lens because it mimicks normal human vision. But if its equavalent on a full frame camera is around 70-80mm, it doesnt mimick human vision at all. Its more like a portrait lens. 

Spielberg's favorite lens is 21mm. Lets say I want to mimick this focal length on my full frame Canon 5D camera. What lens should i use?

In a FF camera, a 50mm is a... 50mm, you don't have crop factor with FF.

Get a 50mm and start shooting.

The camera is static? Because if it is, just find some fx guy who do the work in aftereffect or another program. You need the shot with the word, the shot without the word, and a shot with the beans falling, and then mix all the shot together.

i assume you mean masking tape when mentioning painter tape,

 

It's not the same quality (certainly not as strong), if wanting cheaper tape the local DIY or building supplier will have cheaper tapes than the gaffer tape you buy from film & TV suppliers/

Not saying that are the same (on color or quality) but the difference is so much that I seen everything (even white tape painting with sharpies) because nobody is going to expend on that if you have another choice.

Gaffers of 1st CA in my country always have the gaffers tape with himself because are worth they weight in gold.

In my country gaffer tape is just ridiculous expensive. If the production doesn't pay for it, we use any other tape. If you are in an environment with good light, we use painter tape, which have different colors, and is muuuuuch cheaper.

Gaffer tape is like $10 dolars and painter tape is 0,2 dolars. A world of different in low budget productions.

The same situation happen in your countries?

But those cartoons characters themselves are actors, or at least were animated by actors.

Not they don't. Disney artist and cartoonist weren't actors.

Well that is not exactly true, films existed for a few years before editing became a thing. They may not have had plots, and were all one shot, were shot on film, but they didn't involve editing.

I thought the same thing, remember Georges Melies for example, but Cuarón is not talking about films in general, he's talking about Masterpieces (I believe the limit of characters in twitter don't let him repeat himself).

Thanks for sharing Tiago, you have a great eye. Love the art and production work too!

 

 

Would it be possible for you to share details of the final lighting set-up that you used for the shoot?

 

Will you be able to post any graded stills or a trailer for this project eventually?

 

 

This would be great!

You could analyze your favourite scenes on movies. For example, I don't know, the baptism on the godfather. What I do is check what type of shot is, for example, Medium Shot, next analyze if the shot has some camera movement (the camera is on a tripod, dolly, making a tilt or a pan), and for last, I analyze the type of light (hard, soft) and the angle (edge light).

Is a good exercise that make you think how and why they shot some scene in that way.

The Academy has announced that the Oscar for Best Cinematography (and Editing) won't be shown live but awarded during a commercial break and this was announced by John Bailey ASC! Good move though, after all it's not as if either craft is really that important in the film making process.

Who watch the oscars anyways?

After Marlon Brandom spitting in they faces, I don't have any respect for that award. Completely ridiculous choice anyways, I agree with the tweet of Cuarón.

Hi, nice work!

This short has some of the best handheld shots I've never seen, really an amazing work! The lighting was good, love the locations. I have some problems following the story, maybe because the english translation wasn't accurate enough? I don't know.

The short has some minors issues with pace and the editing, sometimes between scenes was kinda distracting. But love the bold shots, like when he drinks and you make a kinda barrel whip pan (don't know how call it haha) and in a second we are at the bathroom.

I remember some issues with foley and sound effect, probably the most common is that you use foley on what we can see on the screen, but you have to think what you could hear, no matter if the camera is looking at that or not. For example, the first shot when you only hear the footsteps when the guy appear on the screen.

Again, an amazing short, really enjoy watch it. Hope you share more of your work,

bye!

Liked, specially because was kinda spooky but not too serious. Nice pace too. Some camera choices I don't like.

What I really don't like is how the shadow of the clock dances around when the time pass. I understand that the sunset generate a different shadow but in my opinion, you should fake it and only change the tone and not the shadow so much, because looks messy.

Probably nobody think it until the edit room, but still...

But great cinematography an idea, good short!

Keep the good work!

Congratulations!

hey I was just curious what people are using to manage/create storyboards. I have an ipad with the drawing pen and was wondering if there was software to illustrate and organise the panels.

I own and tried several programs, but really, at the end, is so much flexible, fast, and clear, use pencil and paper to share your ideas.

I don't know, but if the trainer told you that, at least interview other trainers and check if that it's ok.

Animals don't perceive light and sound like us (well, cats almost "watch" screens like us, dog don't even refresh the frame rate at all like us) so if an expert warn you, I listen him

Hahaha, isn't this an episode of Blackmirror?

and Im not worried about sound (though I think lavs in addition to my boom will help against outside noises) or lighting too much, but I dont want to shortchange myself either.

Every time I read things like this, my spidey scent gone off. Spoiler alert, this is where your short is going to failed. Sound is 51% of your short, nobody is going to care if you film with the 60d, if you lighting properly, but if the sound is unbearable, it's doesn't matter if you use the newest Alexa, nobody is going to even finish your short.

Please, don't neglect sound or lighting, because, along with the story and performance, are the most fundamental things in cinema.

At the end, the producer don't want the fog for budget reasons, but we have a really nice shooting.

We have some problems with the schedule, mostly because was bad planning, but I hope the director has the shots he needs.

I share the short when it's finish.

Thats a shame Ricardo. I do appreciate the feedback though.

 

This short is only 5 minutes long. The Shining breaks the rule, its well over 2 hours long and has a scene where the line is broken, famously. Of course I'm not trying to compare myself to filmmakers like Kubrick or others who have broken the rule.

 

Thank you for pointing it out Phil.

 

 

Dan

Don't worry, do you know how many incredible films makes Ricky Garza from Mejico Cabron?

Zero

So never mind what he said, keep filming and keep experimenting. The rules are guides from a common knowledge pool that people with similar culture have. Bending that rules as you please and even broken it if you want to, just keep filming.

Thanks for sharing Dan, hope to watch more of your work in the future.

Is it quite possible on a fully-funded, professional movie production, just to name a scenario, to film with Panavision film cameras and anamorphic lenses, but also to add into the mix, as it were, an older Arri MOS camera with non-Panavision eg. PL mount anamorphic lenses on it? Are there any contractual problems with that usually? How difficult is it to match the look and colour rendition etc of two completely different makes of lens for instance Arri and Panavision?

 

So can you combine your own lower-cost gear with major rental house gear to save money on the same production? Eg. you need sync sound Panavision or Arri camera/s with rental lenses etc but also want to use you're own (or your friend's) gear on the same production for MOS shots.

Just try it. Some times your friends lens are going to be an step down compare with cinema lens, and you can tell in the shots, some times they'll be just fine. Just experiment with what you have.

Thank you David, for sharing your time and information!

I'll share some productions pictures and the final result when it's done!

If it's a big warehouse, you'd need a big hazer or a couple in each corner, etc. I wouldn't try any non-traditional ways of smoking up a room because most of those tricks are not safe to breathe.

Thanks for the advice David!

The hazer machines are easy to use, or besides the renting, you need to get some kind of technician that work with it all the time?

We are an small crew (12 technicians between camera, sound, assistant, etc) and I don't think we can spare someone to be with the machines all the time.

Thank you!

Hi, I'm going to work in a short film, about a group of blue collar man, train mechanics, that talk around a bonfire in a warehouse, which is a train workshop.

I was thinking about the scene, trying to remember scenes from movies or series which a similar aesthetic. What I was thinking, especially with the bonfire, is that the scene could use a little of haze or smog, or mist in the air, which gives more volume to the air around the characters.

The only way to do this is with an smog machine, or do you know another method? The idea is that another lights in the warehouse (the motivation is working lights, lights from the train, lights from the ceiling) could gain a little bit of volume, and in that way, give the scene more layers, besides the talents talking each other.

If you have more information about how achieve this, or if you have some references from movies, or series, with similar aesthetic, I'll be grateful.

Thank you all!

Really good job, especially with the cinematography. Good sound too. The editing has some problem with the pace (as usually, and luckily) because is to fat. You need to cut it up a little bit, and be aware with some shoots too long.

Hope to watch more of your work, bye!