freddie bonfanti

good stills! pictures like these help a lot us learners!!!!! its quite funny i was shooting an ambulance scene a week ago and i used the same setup with two 1200 hmis and ultrabounce!!!!! didnt have the kino tubes though. great job, cant wait to see the movie

i agree with captain video... the main thing that i didnt like was that death doesnt look as frightening as i imagine death to be. i would expect someone with a scarier or older look and also didnt lake the "morpheus move". cinematography wise, i am not quite sure about the uncorrected color temperature, it looks a bit too orangish. and yes, the location wasnt that great. maybe you wouldve got a better result shooting the fighting scene in the nature, like in the middle of a forest, as often you see in martial arts movies. anyway some shots are very cool! regards freddy

hi alex thanks. i just took it really quickly with a canon D50 and to be honest i didnt really think about framing and stuff, so i reckon ive been lucky. homeless people are very aggressivehere in scotland so i didnt have time to do anything. i darkened a bit in photoshop. cheers freddy

its because of the camera. i never change setups for that scene. the shot was more like the first one. i wanted to have constant darkness around grandad as he is sort of cast away from everything, especially his nephew. i was shooting wide open (2.8) just because of the dof and so that i could afford to have only a 650 as key and few practicals as fill

you couldnt be more right in your words, mate. its just odd to suddenly realise that we give things for granted, like having a roof on our heads. it made me thinking, trough photography

thank for your words i am not really bothered by negative comments, hell im only 22 and i cant pretend to light sets like libatique...i tried to o my best with the equipment i had. for the grandad shot i had nothing but two practical lights, both with 100 w bulbs and a 650 fresnel bounced off a reflector. i didnt have flags with me so i used lots of cinemafoil. the last shot which looks definitely flatter than what it really was was mainly lit by daylight from a window behind the camera and a 12k hmi. thanks freddy

hi all i am taking lots of streets photographs here in edinburgh and last night i took one of a homeless guy sitten under the pouring rain. it was truly one the sadest thing i have ever seen

about what you said, logan i agree with the last shot being overlit: i am hoping to correct that in post bringing the levels down. cheers also for the tip on side fill, very helpful. i am waiting for the editor to make a rough cut so that i can post a small trailer which will hopefully show more than these pictures. i heard about the filters you named but unfortunately i had to use what the college provided: a small box of 7 filters. it was just lovely to try and make something good with few lights and no money. the atmosphere on set was amazing: we were all enthusiastic about making this short and everyone gave everything. our tutors are impressed: the result will still be student standard but for being without budget and me and my gaffer self thought (our course does not have lots of cinematography lectures) i am very bloody proud of it. i would love to see your Z1 footage, logan. i love that camera

dear logan thank you for your nice words and constructive criticism. i hate to start silly arguements in this forum and waste people's time but really i could not help it. evan did not have enough pride to reply to my criticism which was by the way a bit rough but sincere, but deliberately struck me back in such a silly way on my post. he should have instead replied firmly and proudly in his own post. it was really a reaction of a 1o year old. he not only used offensive words towards me but also towards the production designer. i thought it was very pathetic. i am sorry i do not want to bring this any further but i come from a place where we never let arrogant people step on our toes cheers and for me thats it freddie

fair enough evan, nice try to be kind and honest. your childish reply to my post "big men" in the "in production" forum shows that you cant take any sort of criticism and that you are definitely not mature enough to stand up for yourself...it was very silly to get my back like that and i believe other people on the forum thought the same. i was not trying to hurt you, and your pathetic attempt of revenge shows you what kind of person you are. fortunately the criticism came from you so im not that bothered grow up, pal

cheers evan these are stills from the photographer and the framings are not the real ones, i was more interested on the judgement of the lighting. by the way its a silly way to hit me back because i made a honest judgement on your boring reel, evan. you should have had some guts and reply there, but i liked your criticism anyway as it doesnt really bother me, pal! desaturate the look in post? well since i want to be a dop when i grow up i was looking for a smart way to do it in camera and, mate, everyone here is saying that it worked well now concentrate on your work and try to make a decent reel

well, excuse me this is an open forum, and evan asked an opinion. if i post my work i expect people to be brutal and show me were im wrong to learn and get better. i just said what i said because i have seen other cinematographers work and that, im really sorry, wasnt on the same level. i understand evan is young and is learning like me but im sure he wont be put off from a judgement of a fellow student filmaker who is saying what he really feels. i just said what i thought was right, and i didnt mean to hurt anyone.

sorry to be a bit blunt but i didnt think it was really interesting...the music wasnt the right choiche and most of the images were average, none of them presented challenging lighting or composition. yeah you shot on film but still im not impressed. i reckon your still photography is much better.

hello when i switch to this modes on my Z1E nothing changes on the lcd monitor or viewfinder...i can guess what they mean but why there are no apparent changes on the screen? thanks

hey matt i was wondering what stock camera and lenses did you use for that 1978 music video you posted not a long ago. i really like the colors and palette ta

hey all im a 22 year old aspiring cinematographer and i just shot my second short film. since this forum has been very important for my learning experience i decided i would post some pictures of the set, so that i can get some constructive criticism and improve my skills. the film is about a james bond fanatic grandad and his nephew who is moving away from his house to live with his new wife and their troubled relationship. the director wanted this short to look like the early connery´s bond films, therefore our palette, camera movements and lighting had to follow that style. however i managed to convince the director not to use the bond films lighting as reference just because it always looks like studio lighting and its not very charming. we were supposed to shoot on 16 and try to achieve that saturated technicolor look but our budget collapsed in early preproduction so we opted for the Z1E. i was a bit worried because trying to achieve that look with an HDV camera was not an easy task at all. doing some intensive testing, though, paid off. i used cineframe 2 and cinetone 1 along with some in camera color correction and shifted the white balance to a more tungsten orangish look while using 1/4 promist and 2 low contrast filters on the lenses. i dont want to sound big headed but the results were impressive, the whole picture has a suttle retro 1960 look, enough to make the director happy. our lighting package was student film like, therefore 4 300 fresnel, 4 650s, a 4x4 kino, an 1200 hmi and a 2 k. i used lots of bounce light and mostly the 650s. here there are some pics from grandad´s room and from a pub scene as i said im a beginner and id love to hear some tips if the lighting is not properly done thank you all

alright mate, you got pm! cheers

thank you all for the nice and helpful replies. one question: i have few s8 cameras at my disposal but id try to avoid the ones with the 85 filter built in, id rather use somethign else as a mattebox. in this case what should i do? ive got some filters for a 50mm lens and thats it... thank you. p.s- nd filter even in case of overcast sky? assuming that my lens widest is 1.4 would that be enough to have a good exposure considering that ill have few filters on which will take lots of light off? cheers

hi all i have never used this format before but im shooting a credit scene for a short film on a beach soon and i was wondering if anyone with a bit of experience could give me some good tips on how to use it and also how does the stock react on sunlit and bright scenes overall...how many stops will the 85 filter take off? should i use a meter just to be sure? ta freddie

hey there whats the easiest and cheapest way to link a 60 MB trailer on this forum? are there any good hosting sites or something like that? ta

what difference does it make when shooting in video at different shutter speeds? i know that if the shutter is low the image strobes a lot but what about when you shoot at high shutter speed like 1000?

i am sorry to disappoint but i was referring to the sodebergh one. the reason why is because whilst watching the making of i was stunned to see how bright the set was when shot on video for the documentary compared to the final result: the blacks were much blacker, it was very dark generally and there was on the opening shots of clooney walking around and sitten in the subway a general green tone which later on in the film became much greyish and coldish...i was just curious about how the dp got this particular look and which techniques and tools have been used in camera and in processing thanks freddy

hello could someone please give me some informations about cinematography in SOLARIS? is it possible that some bleach bypass or cross processing was done? what stock was used? what lenses? i love the greenish colors and the darkness of it. all the informations will be highly appreciated

i have just read this mini quotes of christopher doyle and i wanted to share them here, because they are in my opinion absolutely inspiring: "I went to Taiwan to study Chinese and, as usual, I hung out in bars, and people in bars are usually musicians and artistic kinds of people. I had accumulated a little life experience so I could articulate things which were a little bit more complex than I could actually do and for some reason Edward Yang trusted me. And then we made this film ("That Day on the Beach," 1983) that won all these awards and I didn't know what I was doing. I fluked it. My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love. The East is rising and the energy of the region is reflected in everything we do here, whether commercial, military or cinematic. I just happen to be part of that. We're in a golden age of cinematography. Most people are on-line at least four hours a day. They're seeing images all the time and their visual sophistication is jumping far beyond all the old farts in the Academy. hear hear freddy

hi all what are the main visual characteristics of bw reversal film? especially on 16 mill? whats the difference with normal black and white? if it works the same way of color reversal i guess the blacks will jump out more and the latitude will be smaller...am i right?