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Giovanni D'Onofrio

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  • Occupation
    Cinematographer
  • Location
    Toulouse

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  1. dammit then! Is it because of the nesting properties? Anyway thanks, I'll consider them. I'll keep coming back to this.
  2. For what lights are you planning to use them? even smaller than 2k? Keep in mind that as for myself I'm talking about small leds, school 650-1k that I can pair with school stands, reflectors, cloth etc). I mean if I take those stands for 21 euro each at least I have 4 to play with for the time being. But I understand that it is not a professional item, it's a complex choice since I want to keep doing some light test asap and at the same time I'm imagining how a lighter future fiction kit would look like. Two different topic probably.
  3. Thanks! We don't even have c-stands in our school, imagine that :)) We use manfrotto 1004BAC for lighter stuff and heavy aluminium ones for bigger lights. I would buy the manfrotto but since I'd like to have 4 stands for small tests with leds or natural light before the school opens again (who knows when or how) I was thinking those 260cm neewer could be enough... I still have to decide if as bigger lights I wanna buy tungsten or new leds, since I can ipotetically still use school tungstens for a while. And yes sandbags!! I had push the thought for later... Trash bags sounds like a neat and simple idea.
  4. Oh, right, I hadn't thought to use it directly on lamps, I think I only tried the aluminium one once to make some shapes between barndoors. It is a little bit pricey!
  5. I've recently moved them on a shelf. I had naivelly kept some of them for years in a bag! Now they get appropriate levels of sunshine and dust 🙂
  6. It seems like the neewer stands can hold 5kg, I mean probably less but this arm could work? It's small, just for some extra reach https://www.thomann.de/fr/manfrotto_d520b_40_extension_arm_bk.htm The Manfrotto 1004 that my school have are great but for buying multiples I don't need to spend that much. I think I'd like to avoid taking a full soft kit and focus more on grip stands etc, I wanna use my small leds, bulbs, play with reflectors, and probably we will be able to keep using some of the light of the school on the next months. I've added the cinefoil yes! It's always usefull. But why "aluminium" gaffer specifically? Am I missing anything obvious? I've used the real magic arm usually, the one that can hold weight, but I think this small one is enough for some smaller lights.
  7. Hi Nicolas, thanks for your answer. I didn't thought of looking for manfrotto stuff there, I'll be happy to avoid amazon. Would you recommend other stores as well that ship in France? Yes absolutelly I was looking for an arm of some kind, I just couldn't decide on one. Even the neewer "rotule" don't convince me that much. How about this one ?https://www.thomann.de/fr/manfrotto_d520_40_extension_arm.htm And this curtain? https://www.thomann.de/fr/stairville_euro_curtain_320g_m_cut_2x3m.htm
  8. Our cinema school is closed because of the virus. And I'd like to keep experimenting with lights scenarios, for the fun of it but also to prepare for a small fiction. I have 3 small leds, usually I use tungsten/hmi from school. I will maybe consider a godox or some tungsten set but at the moment I was thinking about grip, rigging and similar. I feel like that should be my main concern, those were the kind of most usefull item on the shootings I've been. I've put up a small (around 400 euro) list of things on amazon. Is something clearly missing in your opinion? Or some priority to shift? - 4 neewer stands (I've put in a lot of neewer stuff because it seems like the cheap/good enough brand) - a couple of clamp lights, bulb, and china lantern - gaffer and cinefoil - a big 5-1 reflector, I already have a small one. Plus tissues. - more clamps and stuff
  9. That's exactly what I wanted to say. You'll get what a soft light is the first time you do it, at first we are not used to imagine that a light has to be soften because we don't notice how it happens in real life. After you get that you have to be able to find all kind of solution for large frames and controlling the spill, dealing with movements, having nice background separation etc. That's why in a lot of movies nowadays you don't see large things. It's harder and also forces you to think more creativelly (or just throw money at it).
  10. The school is located in the center of the city, we have a set directly on location, a good projection screen, grading room, multiple editing and sound rooms, beautiful libraries all around (including our historic one), a photo lab, a small auditorium for sound stuff, and a lot of tungsten lights 😄
  11. Just spamming my school here for those passing by 🙂 It's a beautiful cinema school in the south of France in Toulouse. The fees are extremelly low for european students, and sadly were rised up by x10 a couple of years ago for non EU students. Still the central university has done a "discount" to help with the transition... We'll see if they repeat it this year. EU 170 euros per year for Bachelor’s (Licence) programmes, 243 euros per year for Master’s programmes, International 2,770 euros per year for Bachelor’s (Licence) programmes, 3,770 euros per year for Master’s programmes, There's a very important cinematheque just in front of the school! You can ask me any question you like about the whole place 🙂 The kind of old but informative website! www.esav.fr And some pics More info:
  12. Only masterpieces allowed here I see... 🙂 A couple from Housu (1997). Obayashi died a few weeks ago...
  13. Thanks for the good explanation, doesn't get any clearer than this!
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