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Bill Totolo

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About Bill Totolo

  • Rank

  • Birthday 01/09/1967

Profile Information

  • Occupation
    Cinematographer
  • Location
    Los Angeles, CA

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  • Website URL
    http://www.billtotolo.com
  1. I'm always shooting multi cam, multi character, and never want to repeat a take for blown focus. The trend for some reason is to never give the 1st ac time for marks, and the directors I work with don't want them anyway. So for those reasons, and because it feels more natural to me I generally default to 2.8 indoors, and 4 outdoors. Of course, I'm nowhere near the level of some of the members on this thread but it works for me. I do prefer my inserts to have shallower dof, to concentrate the eye on detail. so a SS at 1.8 or greater feels right.
  2. I really enjoy watching this new series starring JK Simmons. And I love the mood and look they've established. If anyone can point me to any bts or info on lighting, cameras and lenses used I'd appreciate it. Thanks,
  3. So, how did the shoot go, can you post any results?
  4. Maybe not the best film but I thought "Neon Demon" looked stunning. Shot with Xtal Express anamorphics. "Lion" was absolutely gorgeous, "Arrival" pretty daring as well. Would like to have seen "Rogue One" get nominated. Kinda' feels weird without Chivo or Deakins nominated this year.
  5. Thanks all for the help. I decided on the Canon 30-300 F/2.8 PL as the rest of my lens package was CN-E primes and zooms. Worked out very well. On our day off we swapped mounts on the Phantom Flex4K and used the CN-E 30-105 which was EF mount.
  6. I'm shooting a short series of cars exploding. A-cam will be a Phantom Flex 4K, delivery will be HD so we can punch in for detail shots. Ideally, I'd have something like a Canon EF 400mm f/2.8L IS II USM Lens but I can't imagine how to rig that beast to a production camera. What telephoto PL mount lenses are out there in the 400mm f/2.8 range? I'd also like a lens that will accept a matte box so I can put a circular pola in front of it. Thanks, Bill
  7. Great "out-of-the-box" thinking, Phil. I should have mentioned there will be performers in the shot, crossing in front of the tubes. Figure we'll tape the wires behind the tubes, which will also help control the spill. Hopefully black trick line 30' from camera, zoom set to 19mm, shot againt black drapes will help disquise our gag. Other ideas welcome.
  8. I'm lighting a 40 foot by 40 foot stage against black drapes. Part of the set design is bare Kino tubes of various lengths suspended perfectly vertical in mid-air. We're thinking of using trick line from the grid and fishing line taped to the floor. There won't be anyone in post painting out wires. Any other ideas would be appreciated. Thank you,
  9. Bill Totolo

    Nikon D800

    Adam's work looks amazing, patiently awaiting Phil's review.
  10. Good on you Richard, can barely wait to see some footage.
  11. I need to pick up some memory cards for a gig with my 5D. I'm having a hard time finding the Extreme III CF cards. Has anyone used the Extreme Pros: http://www.bhphotovideo.com/c/produc...pactFlash.html I've used Kingston but have seen some buffer warnings. I'll be shooting long form interviews and need the most reliable media possible. Thanks, Bill
  12. I was curious about the approach to lighting the close ups, wasn't really my cup of tea. Seemed a bit harsh and a bit uncomplimentary, though I suppose that could be the point.
  13. I would outline the basic services you're willing to offer for an agreed upon fee, after which they pay extra. If they need additional DVD's burned that will equate to more time in the office for you, etc. Never agree to work for a flat rate. My experience is the more responsibilities you take on in a corporate environment the less they pay you. They look at you as a handyman and not an expert.
  14. My humble opinion is to knock down sharpness in camera and manage that in post. Seems to help w/ moire issues. I use a 5D.
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