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Salvador M. Rodrigues

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About Salvador M. Rodrigues

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  • Birthday 12/23/1980

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    Lisbon, Portugal

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  1. Hi everyone, Another "beginner" question: I'm shooting a small promo with no budget on saturday. One of the scenes consists of children having a board meeting. I'm not really a DOP, but when there is no budget to hire one, I have to do it myself. And lighting this room, specially for an establishing shot is picking my brains. The shoot is not so much of a big deal, but I like to see it as a good exercise for me. I might not have budget, but I have time to setup. What I have considered doing, is just use china balls and line them up hanging from the ceiling (just outside the frame). Problem with this, is that I still haven't found either daylight balanced or tungsten balanced fluorescent bulbs. But for this work, I think it doesn't really matter and I can always adjust the white balance for more warmth/cold. What you should know: • The room has no windows, has the usual long table and hard fixed lights coming from the ceiling. • The table is colour of light wood. Birch maybe • No decoration, just white walls (even more challenge) and a screen for projections on one of the rear ends. • there is no budget to rent anything for this. But I have access to stands and fresnels, ranging from 350w to 2.5kw. • I also have the usual DOP paraphernalia of foam cores, reflectors, silks, etc... Thanks for any help in advance !
  2. Hi Deniz, Thanks for your reply. Yeah, I definitely can move the direction the light is coming from, since the window will never be in shot. It actually might be a smarter move, and gives me more freedom with the camera. Yes, this is intended to be daylight. The shoot has been postponed until next week, so I'm gonna have some more time to think about the shot !
  3. Thank you for reading and commenting. Very appreciated. Heres how it turned out. I met with them the next day to discuss the situation. They acknowledged I was right and apologized for not consulting me prior, but excused themselves by saying they have been working with fast delivery deadlines and just didn't think about how it could impact me or the actor. In the conversation I also learned that there were still 1,000 spots left from the distribution contract to fill the streets with billboards. So they took the opportunity to create a new billboard for just those 1,000 spots. Hence, the budget was never affected and no more money was invested. After this dialogue I gave them my ok to release the video, considering they were offering more work, but that they should consult the actor as well for he only signed an internet distribution release form. So they did, and the actor asked for a hefty price. This was denied from the client and so the billboard was released with a replacement video I had also previously shot. Best regards!
  4. Hi everyone, I'm shooting this viral type spot this weekend, which will take place in a small bedroom and will mainly focus on a model sitting on the bed while working on her laptop. There isn't much space to work with and I can only shoot in the evening after dusk. I'm trying to keep this as simple and natural as possible. I'm looking for an even light, to represent natural daylight, which will help me enrich the saturation from the models clothes and accessories (a rainbow/candy pallet) in post. I usually work with DOP, but when the budget is non-existent I do the lighting myself. It's also an area I'm always studying and working to achieve better results the next time. As a starting point to light this scene, I'm thinking of fixing two foamcores to form a V, positioned where the loft window would be, and have a 2.5k fresnel beaming into it to reflect key light into the room. Then, have another foamcore positioned side/top to bounce key light for fill. Possibly a reflector to bounce directed light into her face. Like I said, this is my starting point. Am I on the right track ? Maybe the 2.5k is too strong ? How much CTB filter is usually correct to use ? Would appreciate any input on what I'm thinking and extra light sources/reflections to help light this scene. The camera will be handheld and framing a MS of the model and a couple of CU on her face and actions. Thanks for your patience. Here is picure of the scene with a diagram of what I intend to do.
  5. Don't know if this is the right place to post this thread or not, but here goes: Recently I was approached by a creative agency who, are representing a big telecom company to do an online viral campaign. According to the agency, the telecom company was trying to get it done for free and at one point were considering film students to do them. However,they decided it was best to bring in a professional and that's how they got in touch. I was told this on the first interview and was also told how the budget was non-existent. I was asked to name a value per video (it started out with a series of 5), which I did for a symbolic price. This would be very good for my showreel. The first viral was released last week and it's been getting many views and shares on FB. The client was so satisfied they wanted me to shoot and edit an extra film to be used on a multimedia mupi billboard. Which I did. However, now the agency is asking that I create a loop between the first viral and this second multimedia video for it to screen on the designated Mupi board. And now I'm thinking, "hold on" ! I mean, I shot the original viral for a symbolic value (even got actor to star for free and with signed release form) thinking it would only be displayed online. Now its going to be distributed among many bus stop billboards. Unfortunately, where I'm from, we don't have agents or entertainment lawyers as the way the film/entertainment industry is setup, unless you are a big star you are on your own. So, I would like to hear experiences from different countries on how I should handle this situation ? I mean, I feel I should be $$ compensated for this distribution. But have no clue on how to determine a value. Also, the agency is setting me up with exra work for the same telecom campaign (also at ridiculous prices). Should I just swallow this up and let it go in favor of more work ? Or should I make a stand ? It's 1am as I'm writing this, and I need to say something by 9am.. Any info/help would be very much appreciated ! I should note that I haven't signed any release forms, or contracts as of yet. This has all been done as a last minute deal. Many thanks
  6. Hi, I'm selling my brand new and never used Harrison Film Pup Tent. The measurements are: 26"x19"x12". Shipping to Europe is $10, USA & Canada is $22 and Australia,S.America + Asia $25. Item is selling now on Ebay: http://cgi.ebay.co.uk/ws/eBayISAPI.dll?Vie...me=STRK:MESE:IT Any questions, feel free to ask. Thank you.
  7. Selling another lens, this time is my Kern Paillard Switar Yvar 150mm C-mount with f4.0. This is from a Bolex kit I got together back in 2007. It's a beautiful lens, glass is clean w/ no fungus or haze, barrel rings turn smoothly and hardly any sign of wear. Lens comes in a leather tube case. Auction started at 9.99 with no reserve and ends next Sunday. Here is the link: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...=STRK:MESELX:IT
  8. Just a small bump as auction for lens will finish within 2 hours. I took some more pictures today, but didn't make it in time to revise my listing. Thank you.
  9. Hi everyone, I've put up on Ebay an extra Angenieux 12-120mm I had laying around. This belonged to a Beaulieu R16 camera. Feel free to take a look and ask any questions. • Glass is clear of scratches, fungus or haze. • Zoom Ring, Focus Ring and Aperture Ring all turn very smoothly. • This is a C-mount lens. • No front or end caps. Lens has been protected by an 85B filter. Auction ends on Sunday. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewI...em=220574630616 Feel free to ask any questions. Thank you for reading.
  10. Stuart, Thank you so much for your valuable input. I'm really sorry to have to part with this too, but as I stated, the whole film process is uber expensive in Portugal for personal projects. Back in my London years though, I could get very nice deals using my student card. The 400ft mag is indeed converted as well (btw, the conversion was done under my possesion) and the Soligor does not cover S16, giving a slight vignette on the edges but easily corrected in telecine. I don't recall how much the conversion cost was, but since it was a service + conversion I think it rang in between £500 and £750 so in context with the numbers you provided from your conversion. Stuart, may I ask what is your experience in the HDDLSR field ? I've become somewhat infatuated with the D7 and D5, but not sure if their at their ripe yet. Best regards, Salvador
  11. Hi guys, I'm looking for someone who can help me evaluate my EBM kit, which I managed to get together in 2007. Unfortunately, cost constraints haven't allowed me to do much work with this beauty. I live in Lisbon, Portugal and stock + processing costs are ridiculous expensive. Basically, only accessible to main-stream professionals. I would consider keeping this gem as a collectible, however my financial situation isn't the best right now and I must try to detach myself from the sentimental value and part with it. However, after assembling the kit together, getting the camera serviced and converted to S16mm, I have no idea how much this could be worth in today's world, hence I ask for your help. Here is the lowdown on the kit: 2 Yellow Peli Cases, one for Camera Kit and another for Lenses and adapters. • Bolex H16 EBM Electric Body. Camera was serviced and converted to S16 at Sean Dean Camera in London in 2007. Tried and tested with example footage. • Power Grip • New Battery custom made with charger. • Powerpack battery for H16 Cameras NiCD, although I never got this to work because I don't have a remote trigger. • Base Plate to replace the power grip to use on a tripod with the connector for the powerpack battery. (power grip can also be used on the tripod.) • Sync Pulse generator 50hz at 25fps. • 400 ft Magazine (not in picture). • Motor for Magazine. • Rollers for the Magazine. • Cables to connect the whole lot. • Set of Gelatin filters • Instruction Manual, instruction manual for Switar 16-100, DOF guide for Switar 16-100, Magazine instruction manual, Bolex Catalogue, Lens • Kern Vario Switar 100 POE without a zoom lever - Bayonet mount • Soligor Elitar Wide Angle 10mm f:1.8 - C-mount - Glass is clean, lens is in very good condition. • Kern Paillard Switar 50mm f:1.4 - C-mount - Glass is clean and Lens in very good condition. • Nikon to C mount adapter • Bolex C Adapter for Bayonet Mount Tripod • Designed for the H16 with the Bolex quick release plate. Film Stock My leftover film stock • 2 x Fuji Eterna Vivid 160 (100ft) • 1 x Fuji Eterna 500 (100ft) • 1 x Fuji F-125 (400ft) - Gift from Fuji since it got discontinued, straight from their fridge. • 1 x Eterna 250 (400ft) *note, 100ft rolls have always been in the fridge. 400 ft rolls left the fridge a year ago but have been stored in a very cool,very dry place with absolutely no light. I appreciate your time and patience to read this and want to thank anyone in advance for any help. I would feel perhaps, the best way to reply would be through PM ? Thanks everyone.
  12. Hi there, I actually have two of those models, I'm somewhat fond of them and not very eager to depart from them, however I am actually looking to collect some money to invest in a D5 Mark II. How much would you be up to offer ? Both camera's in very good condition as they were both serviced in 2007 at Sean Dean Camera's in London. Here is some footage with one of the models: If you would like to see more footage, just let me know. PM me for more info please. Cheers. p.s. Camera's are with me in Lisbon,Portugal. EDIT: Sorry, I misread your post. The models I have are both 4008 ZM IV and not II.....
  13. Hi Everyone, Just wanted to find out if you know any modern Directors who's work is directly influenced by Tarkovsky's ? I'm looking into what legacies were passed down after his death. Thanks in advance for any help! SMR
  14. Hi Everyone, Just wanted to know if there are any feature films shot on 16mm (or s16), entirely handheld ? (Or at least a great portion of it) Best Regards, SMR
  15. Hi Michael, Do you suggest pushing a 500 film to 640 ? Thanks SMR
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