freddie bonfanti

hahahahahahahahaha...you now, MAXIE, your replies always make me feel good. thank you. i cant wait to see your next film! is it gonna make it to scotland?

jacobi, the problem is that you are a smartarse, arrogant and your judgement on movies is most of the time inappropriate. theres nothing wrong when you criticise a film, its the annoying, unpolite and cocky way you do it that pisses people off. and yeah, when the hell are we gonna see your movies? who the hell are you?

that looks definitely like a post effect, maybe magic bullett

GODFATHER, SCARFACE, GOODFELLAS, ROMANZO CRIMINALE????...i must say it was very ballsy of them to write such a statement in the trailer...

www.romanzocriminale.it cool trailers online

good luck, mate. your help is always essential for us student filmakers. get well soon

hi all it seems that an efficient way to light a greenscreen is to use big silked space lights for an even and overall shadowless lighting. im wondering, however, if this is suitable in a situation where the foreground is supposed to look like a night exterior. obviously using the spacelights would make the foreground scene look rather flat and maybe way bright to look like a night ext. what would be the best solution? reduce the amount of spacelights or switching to different lights set on a rig on the top and bottom part of the screen and blasting trough, leaving the foreground much darker and free to be lit in a different way? im curious to know thanks

it reminded me of "severance", very very similar scenes...especially when the guy eats the cake and finds the tooth inside.. a part from that it looked good

i still use slide film in still photography, call me crazy, which i usually push a couple of stops...it makes me thinking carefully about composition, exposure and various techniques and thats great cus when i get my stuff back i know it wasnt easy to achieve it. but in filmaking i go for hd with mini 35, just because film wont give me a chance to shoot as much as i want, because of the costs...and because of the look, which to me is great

you know what, im gonna stop it here before this becomes a big deal. i dont really care. i wish max all the best. thats all from me

oh, sorry. the imdb link you provided shows that you mainly do clapper/loader work, hence my assumption. maybe you should update it with the feature films you directed. anyway theres no point of discussing this further, i dont really care, if you didnt like the film its fine, everyone has a different opinion.

leave it, jacobi. if you dont get it, dont worry, just leave it. i dont need to give you more convincing arguements, i said what i needed to say...maybe you should give a more convincing reason why you call yourself a director when you mostly do clapper/loader work

unfounded presumptions...do you think i would bother replying, mate? i was just trying to make you reflect on how appropriate was the choice of raw video for this film, and how well it worked, but it seems like you dont get it so help me god, who gives a damn.

i am going to be criticised for saying this, but OH MY GOD not another film to video discussion please. this is such a great forum but i have the feeling that we just keep talking about the same thing over and over again. film, video,hd,whatever...they are all cool tools we filmakers can use to tell a story. each one of them as something special. i cant stand this debate anymore

different is not always good, but in this case it definitely worked. i mean if they tried to shoot a period movie the same way i would agree with you, but we are talking about miami vice so its a complete different story. this film needed this look. this film didnt need a clean pretty picture and you cant stand it because you didnt get your amazing 5218 look. a bit closed minded, folks. im curious to hear from you all experienced directors and dops what would you have done instead

you have a good point, bob, but dont you think that for that kind of film it was the best choice lookwise? and i wouldnt qualify the picture as steaming pile of poop, it was just different. the camera work and movement was ace. plus the aerial shots were amazing. i dont think a PA could do that, mate. plus im sure you have seen beebe's previous work and you know the guy is good. the point is that you went to see this movie expecting something...thats in my stupid student opinion a wrong attitude, i love when i get something new, fresh and daring

dear god WHY DONT YOU PEOPLE UNDERSTAND?????? do you really think that mann and beebe made a mistake? do you really think they shot what they shot expecting an amazing look? THIS FILM WAS SUPPOSED TO LOOK LIKE THIS. yea yea yea it looks like hell, videoish, unprofessional...THANK GOD! thank god these people have the guts to make something that looks different from the average GORGEOUS 35 MIL STUFF. i thought it was great, the roughness and the grittyness made me think "its harsh, but i have never seen that before". the fact that the story wasnt that good, well thats another thing, i agree with that. it sucked but i am sick of people expecting everything on that screen to be shot on film, to have all those eternal and predictable qualities that have been around forever. i am so glad miami vice came out. it pushes people to experiment with the new technologies and to make something completely different. dont get me wrong, i love the look of film, but i really cant stand the choice of using film just because its film. i bet a million pounds that if someone shot a movie tomorrow on a Z1E with the micro 35, proper lighting and proper film lenses the average joe wouldnt spot a difference or mention anything unusual. things are changing and i love it. and another thing: if miami vice was shot on 35 mil i guarantee you it would be just another action flick, but because it looks like hell and videoish people are attracted to it and it wont be forgotten easily. there you go, mate

hey there i was wondering if there is anybody in the uk who is renting the adapter at all. i need to test it on a Z1E as soon as possible, so if someone knows something it would be very helpful cheers freddie

hey all the reason why i am resuscitating this post is because i just had great news: CLINT MANSELL, composer of requiem for a dream, pi, and the very recent the fountain, decided to score "the big forever". its quite amazing and we are all proud of this. his work will definitely give the film an extra kick

delicatessen is a cinematography must...darius khondji at his finest

buffalo ´66, delicatessen, se7en...

hey there to me the biggest issue here is the weather. i dont know where you are located but i can assure you it would be a nightmare here in scotland, as the weather changes at least 15 times a day...if you know that the forecast is good then i would try soften the key sunlight (if its to harsh) and carefully play with it bouncing it in strategical places in the room, you may get a way with a lovely ala rembrant scene. if its overcast you would have an even soft light but it wont be enough obviously to give you a good f stop so you would need to use more lights and maybe thats hard in a cramped space: in that case you could try to get hold of an extendable manfrotto pole and some clamps which will enable you to place your lights easily overhead. my advice is check the forecast and come up with a plan. go on the location and try things out. im sure youll make it. good luck

i knew i was gonna make people smile with this thread but believe me, mate, i loved it. awful script and story but some of the shots, woah!

hi it looks like you got great results from pushing the stock 2 stops, would it be the same with super 16 stock?

i loved the shot of the soldier standing on the wall at the end. good work, maybe you need more exciting shots like that to make the reel stand out a bit more...