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freddie bonfanti

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Everything posted by freddie bonfanti

  1. i have recently bought david mullen's book and i must say, its the perfect way to understand cinematography and its vaste universe. i am learning myself and that book is helping me a lot. i really suggest you to get it, especially if you plan to shoot on 16 millimeter. i guess this old italian motto works for cinematography too: who persevere, wins keep on shooting freddy bonfanti edinburgh college of art
  2. hi all whats the main difference between high speed film and low speed film? visually what are the quality differences? thanks freddy bonfanti
  3. hi thank you for your replies, its basically what i suggested the director, i hope we can get away with it. its just amazing to work stuff out with small money and few lights... i believe thats how im learning
  4. hi all really quickly i need to light a character walking into a dark alleyway just showing his torso and face, but at the same time trying to keep all the rest in dark. its a walking shot and our low budget limits us having not powerful lights, no HMIs. where would the best place be to light this character? should someone carry a small sungun light close to the camera or something like that? just to have the light constantly on him... thanks a lot federico bonfanti
  5. hi, i am in preproduction of a scottish short film and the main visual references are all the 1960s bondfilms with their "technicolour" retro look. i was wondering what tricks could be used to mock that look with a Z1E, shootin progressive? thank you
  6. hi, i am in preproduction of a scottish short film and the main visual references are all the 1960s bondfilms with their "technicolour" retro look. i was wondering what tricks could be used to mock that look with a Z1E, shootin progressive? thank you
  7. hi i was wondering if shooting on cineframe 25 with the Z1U means that the camera is shooting in progressive or something else should be activated in order to shoot in progressive thanks
  8. thank you all for your valid and helpful suggestions
  9. HI i am about to start shooting a short film and the director wants it to look like a film noir, the only problem is that it will be shot on HD. although i have a precise idea on how to light, it still i am worried that high definition wont make it look really noir...i want to use as few lights as possible, but i will be more than happy to have some expert advice or tips on how to get it right thanks
  10. hi i am about to shoot a graduation film on a SONY HVR Z1E. i perfectly know that this discussion has already taken place in this forum, but i am trying to find a definitive answer. the film is a short story taking place in the future, in a post apocaliptic world. both i and the director decided that we would use CINEMAFRAME 25 to photograph the short, to give obviously a more filmic look and to stick to the "filmic" narrative of the script. thats the reason why we got this camera, TO MAKE IT LOOK GOOD, to avoid the student film look. but here lies a dilemma. the film look its given by a cheating camera effect which is not really shooting at 25p so i find it weird in a sense, it looks like an irreversible process in case we realise that the film look we got its just not right. should we shoot at 50i and then deinterlace or just stick with our idea? WHAT WOULD LOOK BETTER? a 25 fps in camera effect or a post production work of deinterlacing?did anyone test the camera? note that we cant make any test as we havent got the camera yet, but please add your comment thanks
  11. hey ive just seen bits of "spun" and i was wondering how did they get that cool high contrasts look...is it a processing job or a post production color correcting thing? thank you
  12. thanks chris, but is it the same with GELS? i mean that guide is mainly for filters, would it work the same with gels
  13. hi could someone explain to me or link a website on the basics of gels and how to use them properly in order to create certain atmospheres? thank you
  14. thank you so much, i really appreciate your tips. i will try my best to get it done
  15. hi, i am a student and i will shoot a short film next week with lots of greenscreen. although i already know how to light and shoot greenscreen i have a question about a particular shot which my director told me about and which is giving me hard time: he wants to have some greenscreen action reflected into a puddle on the street. the character is walking on the street and once he steps into a puddle he sees a storm of blimps flying in the sky reflected in the water. is this possible? how can i light the greenscreen above him and keep the key green colour safe into the puddle? i know its an ambitious shot but we are not afraid... any help will be highly appreciated
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