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MiguelDelValle

Basic Member
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About MiguelDelValle

  • Birthday 11/02/1970

Profile Information

  • Occupation
    Cinematographer
  • Location
    Mexico City
  • Specialties
    Cinematography, TV, books, music, flying.

Contact Methods

  • Website URL
    http://www.esarcine.com
  1. Me too, I havent been active posting but keep reading the forums. I hope with this post I wont be erased. thanks and greetings to all.
  2. I had work on a reality show for a belgium and a huge company from holland, I have a few contacts that will help you at least telling you were when and maybe getting discounts for you. Write to me off list.
  3. congratulations and enjoy the party.
  4. If rodriguez used short ends or asked Kodak for stock and was bough in Mexico there is a strong chance that the stock is 7248. It was the typical stock for tv movies at that time and there was this under market for rolls that werent used by tv movies production companies. Righ now the offer form kodak is about only 4 or 5 kind of stocks, if there is a need for another you have to ask for them with time so they can get it form elsewere, so the choices are no to wide. On that time there should be only 3 or 4 choices, being 48 and 320 asa the most common.
  5. Can anyone explain to me the difference between this two cameras? thanks
  6. using those rim lights and maybe an 81ef istead of the 85 filter may help to give a warmer look overall.
  7. I had the pleasure to work with him a month ago in méxico on a waitrose commercial, it was a really good team: mark silk, stuart douglas and mr tony brown. They do amazing things, very creative.
  8. Yes there is a general bad shape but there are some movies that are being produced and ocasionally good ones. Its just some luck to find the right friends as in any place, I think. Commercials are starting to rise again since the argentinian boom is slowing down I think, or economy gurus are doing something since elections are comming and they have a big competitor in front. Not that I care for politics but the party that is threatening to win next elections have many film people on their teams like Maria Rojo and they are known to have a better idea of cultural affairs and to be more supportive about it, I dont know if they do it right though :-). Breaking in, is a matter of luck and making the right desitions for what do you want. Becoming a DoP will ask you to shoot anything you can, short movies, experiments, some television, low budgets or no budgets actually, etc and wait for your oportunities. A good idea is to find a director or two whom you will bet your future. Than you hope you earn the "new guy in fashion" title and start your way up. If you like to be AC for a time there are options like asking for work at the rental houses as loader, find a first AC who can help you out and call you to work with him, or the UNION were you could work on foreign films. There are no agencies in México that I now its just you and your contacts. The UNions is a mess I think, the internal conflicts and politics will make you loose some energy trying to save your but from everyone wanting your job, but they get all the foreign and big shows, so you could be part of the team of titanic, el zorro, or movies like that with enough experience and enough public relation work. If they dont mess the productions and make producers stay away from mexico with their internal fights like it happened on the pancho villa production with antonio banderas. There are 2 Unions. STPC that are well known to Sibylle I think since they have a base on churubusco and STIC that as far as I know control rosarito studios (pearl harbour and titanic just to mention a few) at the north of the country. I dont have too much information on those and I have been tempted to join them for a time, but never did. About the DoP you mention and about their carreers at the states I think that they are searching for big names and better projects, perfect case is Prieto who sometimes writes in this forum, he had the oportunities to shoot 8 mile and alexander, if he stayed in mexico he could wait for years to find another amores perros. It just happen that in mexico there are around 3000 commercials shot every year (at least this is an approximate from a few years ago before the runaway argentinian boom) and there are only around 30 active dop´s working and some of them are blessed under the protection of another long time regulars. Its a jealous ambient and the fight for a place is bloody, you will have to go trough the ranks but that doesnt mean that you go from carrying cases to the Oscars, that means that you have to build your relations based on earning a place and knowing people. Normally that means that you have to find a job with a big name and stay there for years until you build your own relations net. And if you survive there is a chance of becoming on something. For example not only the huge talent that Prieto has (I am a big fan of Rodrigos work) but the relation with Alejandro Gonzalez and his company was important to shoot maybe 70 commercials every year earning experience and authority over the time I think. It has been hard for them I guess and it is bloody hard to us too. You will have to make a huge effort on keeping your trust, faith and hard work focused over the years. It is just that in mexico there are so few oportunities that migrating is a reasonable idea and more if you have the talent of those guys you have mentioned, so build your contacts net while you are there. Ok, I hope I didnt sleep anyone, I go back to my day to day fight mode now. cheers
  9. I am sorry it was just a "contact to me offline answer"
  10. I have found that even 45 deg on the shutter will not make the staccato feel too strong unless the camera moves quick over the scene. A few days ago I was shooting in an amusment park were we were shooting a kid on an atraction were a circular "car" moves in circles over the same axe and the whole thing (all the cars) move in circles. (I hope I explain myself). I had two kinds of shot: in the same "car" with a kid were I had a medium shot (i dont remember if it was a 50mm or 35mm) were the camera stays with the kid and the background moves The other shot was done froma different car that the kid was (blocked the movement of the camera car to see the kid moving in circles but at the same time all the background moving) I was searching for a blurry background and shot a few versions: 45 deg shutter at 24 fps and 12 fps and 180 deg shutter and a "non shuttered" shot. the best image or the most blurried background was de 24 fps with 45 deg shutter version on the first 2 versions but the "non shuttered" version was great. The "non shuttered" shot was made on an arri 435 camera pushing mode and set 6 times on the menu. The display gives you the temperature of the camera but desactivates the shuter so when you run the camera the shutter goes crazy without any control. When you stop the camera everything returns to normal. The effect is quite interesting, the background is blurred with streaks of light from the highlights on the background, it was the shot who made it in to the final cut. I guess would work very good for the typical war-fighting kind of shot or maybe a singer with a moving lit background. I will put the quick time on my website pretty soon so you can see it. cheers
  11. or if you know the name in spanish?, a link?, where did you saw them?, anything else?
  12. Wow, so you know everything about what I said. And you had been so close to many shorts movies around, is there anything that you liked from all that time??? I agree, I dont think the "new" wave is going to arise anything soon. Beurocrats needed a hero to defend from themselves from mediocrity and found pretty easy to pick one guy from the bunch an give him something like 8 arieles for a movie shot a few years ago. This guy may have talent, He has it, but the system is something that cant be trusted, they are so obvius, he was a student for the "academy guys" who else could be supported!!!! Lately someone asked me about private ways to produce and I have been thinking about it, many questions few answers but the system is working against producers, just there is no way to have return on a movie. Producing is only a labor of love, I dont know but I think amores perros did some money after they hit the external markets and maybe on video distribution. If I knew that the movie did some money on mexican theatre screenings I would be amazed. cheers
  13. John I should print these and bring them with me next time I have to argue with airport security nonsense agents. When they say that their machines wont fog the film its final, you wont go trough to the airplane if you dont pass the cans trough the machine, period, final, they wont listen any arguments, and your changing bag wont convince them. Frustrating.
  14. see the scene, choose a lamp, turn the lamp on, place it somewere, measure than shoot. How about reading "Lighting for televitsion and film" gerald Millerson. Focal press ISBN 0 240 51582 X or the other 100 books on the subject that you can find in many places like cinematography.com
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