Sony Pixel Power calrec Sony

I sistemi camera e l illuminazione ARRI dietro i numerosi lavori del DP italiano Michele Brandstetter de Bellesini AIC

14/09/2022

Abile in una vasta gamma di generi, il DP Michele Brandstetter de Bellesini AIC ha prestato le sue capacit al mondo della TV con la serie Curon e del cinema con In vacanza su Marte. Ha inoltre accumulato anni di esperienza nel campo degli spot per notissimi brand, tra cui case di moda di alto livello. In tutti i suoi progetti, Brandstetter de Bellesini si affida ai prodotti ARRI, come la macchina da presa ALEXA Mini LF, gli obiettivi Signature Prime, lo stabilizzatore TRINITY e i proiettori SkyPanel ogni volta che pu . Tra i suoi lavori pi recenti ci sono le campagne pubblicitarie per Armani e Dolce & Gabbana, oltre ai video teaser per la stagione finale della serie televisiva Gomorra. ARRI ha incontrato il direttore della fotografia per avere qualche delucidazione sulla scelta dellattrezzatura e per scoprire le performance degli strumenti che utilizza.

Armani Exchange

Still tratto dalla campagna pubblicitaria Armani Exchange primavera estate 2021

Quale stile visivo cercavi per questo progetto?

Avevo gi lavorato in passato per lo stesso marchio e sapevo che Armani Exchange ha un'estetica ben definita: un bianco e nero elegante con qualche intervento di colore e l'uso del LED wall. In questo caso mi sono occupato della campagna principale, di quella per gli occhiali e di quella per gli orologi, e il brief proposto dalla direzione creativa e dal regista Michele Bizzi proponeva grafiche astratte sul LED wall - posizionato su quattro lati e in grado di partecipare notevolmente all'illuminazione dei soggetti - e immagini molto dinamiche con grandangoli in movimento. Cercavamo un bianco e nero con una gamma di grigi ricca e densa. La motion graphics era l'elemento che determinava l'illuminazione e produceva riflessi su occhiali e orologi, c'era quindi un problema di colorimetria che imponeva di prestare molta attenzione a saturazione e de-saturazione. Bisognava far s che il bianco del LED coincidesse col bianco della macchina da presa, e c' stato il lavoro con Michele per avere i contributi di grafica mappati in modo da ottenere interessanti alternanze luci-ombra.

Avete girato con ARRI ALEXA Mini?

Scegliere di girare con ARRI ALEXA Mini significa essere assolutamente tranquillo sui colori e sulle latitudini. una macchina che risolve i problemi, non li crea, che permette di essere sicuri di portare a casa il lavoro senza sorprese. In questo caso era perfetta per la ricchezza delle ombre e la gentilezza delle alte luci. Un secondo corpo macchina operato a mano da Alex Crovi ha permesso di avere ancora pi copertura e disponibilit di B-roll per arricchire il montaggio. Abbiamo anche utilizzato ARRIRAW come formato di registrazione. Abbiamo utilizzato ARRIRAW come formato di registrazione.

Ci sono state difficolt particolari in fase di ripresa?

Bisognava fare attenzione ai riflessi sugli occhiali: abbiamo programmato delle luci ARRI SkyPanel frontali in alto, in modo che seguissero il pi possibile ci che succedeva e aumentassero la dinamicit delle scene. Abbiamo montato delle Ring Light sulla macchina da presa per l'estetica sui grandangoli da vicino: la caduta della luce aiuta a sottolineare il movimento della macchina. Appena il soggetto si avvicina o si allontana, si passa molto in fretta da una sottoesposizione a una sovraesposizione e si sente ancora di pi che si sta muovendo.

Still tratto dalla campagna pubblicitaria Armani Exchange primavera estate 2021

Come hai stabilizzato la macchina da presa?

Ho usato ARRI TRINITY con Luca Sportelli. Lo uso spesso perch offre possibilit che nella fotografia dei film di moda aiutano tantissimo: permette di cogliere al meglio la dinamicit dei grandangoli da vicino e le mezze altezze, che con la Steadicam sono sempre un problema perch bisogna stare in Hi-mode o in Low-mode. Soprattutto negli spot di moda, quando si vogliono raccontare gli outfit, spesso ci si ritrova con la macchina da presa tra i 90 centimetri e il metro e 30, ed proprio l che le Steadicam vanno in crisi. Invece con ARRI TRINITY si pu stare a quell'altezza, ma anche effettuare interessantissimi cambi di quota senza soluzione di continuit , quindi senza fermare il lavoro di nessuno tra un take e l'altro. Si pu inquadrare la targhetta del logo sul pantalone all'altezza in cui , e poi continuare a girare muovendosi comodamente. Su progetti di questo genere ormai chiedo sempre ARRI TRINITY.

In che misura hai usato il monitoraggio sul set?

Con il DIT Claudio Palumbo monitoravamo direttamente de-saturando e arricchendo la gamma dei grigi, separando i diversi canali. Claudio faceva le color correction in tempo reale, poi le salvava come LUT da passare in post-produzione: un sistema comodissimo per presentare subito a cliente e regista qualcosa di molto vicino al risultato finale. Questo era un lavoro di moda, ambiente in cui si abituati ad avere una certa texture della pelle, che si acquisisce con filtri e ritocchi in post-produzione; perci , si aggiunge o si toglie nitidezza dove serve. Si tratta soprattutto di correzioni cosmetiche per cercare la giusta densit di grigi, mantenendo un buon contrasto per dare il tono corretto ai diversi tipi di incarnato. un lavoro pi vicino al ritocco fotografico che a una color correction tradizionale.

Baci Perugina Dolce Vita Limited Edition da Dolce & Gabbana

Per Baci Perugina sono stati utilizzati colori vivaci che uscivano dallo schermo per riprodurre la confezione del famoso cioccolato

Che indicazioni visive hai avuto, invece, per lo spot dei Baci Perugina?

L'idea del regista Giulio Volpe era di rimanere molto semplici per potersi concentrare il pi possibile sull'aspetto umano del film. Dovendo ritrarre le pi diverse tipologie di persone, dai bambini, ai giovani, agli anziani delle pi diverse etnie, la sfida interessante stata creare de
LINK: https://www.arri.com/news-it/camera-e-l-illuminazione-dp-michele-brand...
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