Alex Fallas

Located in good ol Los Angeles and willing to travel.

I work mostly n commercials and shorts, would rather stay there but I wouldn't refuse a feature. If you have me as a 1st, I have a genius 2nd that comes along. Check out my resume, thoughts anyone? AC_Resume.doc

Thanks Elliot, I'll keep all that in mind. I've gotten some response so far, but mostly the whole "we're not hiring but we'll keep your resume" deal. I won't give up though, LA is big.

I just got out of film school, shiny diploma and lots of cinematography experience. I found however I really liked working with post and telecine, and the ability to watch other people's work and sit with DP's and directors just intrigues me. Plus I'm a tech junky and have perfect color pitch (I pick out magentas and cyans better than the teacher who taught me color photography). But yeah, post production is just so fun to me and I'd like to get into it somehow, so how do people start? I just started sending out resumes to places I liked in LA, everything from Matchframe and Technicolor to Point 360 and some small boutique houses, mainly looking for entry level stuff like assisting or being a vault runner or something. Am I doing right so far? Any tips?

That makes a lot of sense David and quite insightful, thanks! Huge fan of your work too, I feel honored!

I never get a straight answer or idea of this question. On a 35mm and 16mm shoot, doing mostly dialogue, whats the typical amount of film that's usually budgeted? And if it's action and high speed work, then what? Sometimes I think even shooting at 6:1 ratios is a bit much, but yes, it depends on the director and crew and actors and how good and rehearsed everyone is. I just get asked this a lot and never really have an answer for the producers.

I'm about to finish up film school and am working on a couple of short films in late October and November as DoP. So instead of doing the usual film school garb and recruiting some directing student to key grip and treating it as a low life job.. I really want to network with some people who really want to be pro grips. Both of the shorts I'm working on actually require someone who can build speedrail and make rigs and actually do stuff besides the usual set a solid on a c-stand. So hopefully any of you younger guys who just want to add some stuff to your resume, and hopefully (and best!) getting a really great working relationship together so I can have a reliable crew if I get somewhere. Anyone interested? I also guarantee fun, great crew, and good food (I make sure my guys and gals get treated right especially if they're working pro-bono)

Thanks all for the info. I think I have some ideas on how to proceed. I'll have the set photographer take lots of pictures when and if we get this sort of thing going and update you all on it. It might be crazy but I think this is the sort of stuff we live for hehe.

It's a technique more used in photography than film since it's easy to do with strobes. You light the subject with he strobes 2 stops over the sun, meter for that, then shoot it. The sun looks darker, the blues in the sky become very deep, and the subject looks very surreal. So we're trying to achieve the same effect but in film, which I'm finding to be very hard. The problem we ran into with putting a large silk over the wides was obviously the size we would need, but also that the sky and desert in the backround might get blown out. So I'm starting to think there might be a combination of in camera lighting and lots of power windows in the telecine. Here's some examples of what I'm going for.

Okay so basically we will be shooting a big spec spot for myself in the summer in the deserts of California. Yes, hot. But anyhow, it's a car spot, and I'm trying to get an overpowered sunlight effect. Me and my gaffer have been going through different options but money is tight so we're trying to be crafty. I want a 2 stop overpower to get the effect I want. The best idea we have so far is to shoot the wide shots at dawn and dusk, and overpower the mediums and closeups with a 4k, 1.2ks, jokers, and kinos for the inside of the car. So is that the best idea? there are three wides, the girl getting in the car, a wide of driving, and wide of the car stopping. Any other ideas? We were even considering strobes since I'm good friends with the clairmont guys in Burbank.

So I wear glasses and am not a fan of contacts or laser surgery. Problem is my prescription is pretty high, so the viewfinder adjustments on most arris and panavisions just dont work. I can frame up fine but it would be nice to be able to check my AC if his/her focus is off right? So any solutions to this, special adapters or something I can keep with me?