Juan Pablo Ramirez

Hi i want to shoot some scenes over 300 fps anyone know any good camera in the prosumer price range that i can either rent or buy, i dont want a phantom or anything in that category more like a high speed 7D lol. Thx Pablo Ramirez DP

ok i know that avatar is a ground breaking movie and im not nowhere near mauro fiores work, but does anyone else thinks that he didnt deserved his oscar yesterday, its kinda all green screen worrk for him, i read the American Cinematographer article about Avatar, and he was only in 30% of the actual making of the movie, i think christian berger work on the white ribbon was superb and he deserved it

so has anyone used or seen any footage shot on with this upgrade on an sr with the digital mag, is it really worth the investment?

Deakins and the coen bros spielberg and kaminsky cuaron and lubesky iñarritu and prieto jean pierre jenaut and bruno delbonell

LOL, but you are correct if we go by technical perfecion only we wuold have to give transformers every oscar cause transformers is shot by the book, perfect exposure, balanced framing, everything you learn in filmschool, but somehow for me that kind of cinematograhpy is dull and void of meaning

i think that anyone that has shot exteriors without any tools besides the camera know how hard it is because there's always a cloud ready to block the sun when you are ready to roll camera and a million things more, ADM work in slumdog it's brilliant vibrant, organic like someone already said in this thread, and the camera work its also beautiful, well deserved oscar

you couldn't be more right, i'm starting as a DP and i really learned a lot about cinematograhpy and specially about shooting scenes at night just by watching the shawshank redemption, the village, or any of deakins movies, and i just found out that he had a website, cause i saw this thread, really sad that i didn't knew about his site before, anyone know if lubesky has a website?

Anthony Dod Mantle for Slumdog, brilliant cinematography, loved the camera work

I saw again Navarro's work in Pan's Labyrinth, and i know it's a fantasy movie so the cinematograhpy doesn't have to be realistic per se, but, i didn't like the way the night for day was worked, it was imo, to obvious that he did day for night and he had to much bright lights in the night, and it was too blue for what i like, i wanted to know if someone saw it the way i did, i liked how Doyle worked the day for night process in Lady in the Water, he worked in the "magic hour" i read somewhere so the process of day for night was less obvious and he had softer light, and that leads to my queston who is in your opinion is the best cinematographer for shooting night scens in my opinion Deakins, how he works with color temperature and shadows is great he doesnt taint the whole frame in blue, he points out little interesting places in the frame and light them up, and of course Gordon Willis but he IS darkness, he can find dark places in the desert. Sorry about the grammar english ain't my native language. Pablo Ramirez 2nd/1rs AC

I saw again Navarro's work in Pan'a Labyrinth, and i know it's a fantasy movie so the cinematograhpy doesn't have to be realistic per se, but, i didn't like the way the night for day was worked, it was imo, to obvious that he did day for night and he had to much bright lights in the night, and it was too blue for what i like, i like the work of doyle in Lady in the Water best, the worked in the "magic hour" i read somewhere so the process of day for night was less obvious and he had softer light, and that leads to my queston who is in your opinion the best cinematographers for shooting night scens in my opinion Deakins, how he works with color temperature and shadows is great he doesnt taint the whole frame in blue, he points out little interesting places in the frame and light them up, and of course Gordon Willis but he IS darkness, he can find dark places in the desert. Sorry about the grammar english ain't my native language. Pablo Ramirez 2nd/1rs AC

I learned in both sides, my dad is a Director in my country (Guatemala), and i learned the craft working with his crew, first just unloading the truck, and going my way up in the ranks, till i got to AC in like 6-8 years more or less, and in the end i decided i wanted to be a cinematograhper, and when i graduated from school, i went to film school, cause i wanted to know more about film, (directing, art department, editing, etc...), so i traveled to Buenos Aires, Argentina and attended filmschool, so now i graduated from film school, and i see both sides, both choices are good choices to learn how to shoot, but in my opinion, there is nothing like learning on the set and with the crew, cause you learn in one day in the set more than in one month in school, cause for me it's 75% theory and 25% practice, but theory is good, it helps you to get the whole picture of a job as a cinemetographer, cause at the end a good dp, needs to be more than a very good technician. And nowadays i see that if you have a filmschool degree it doesn't help you to get a job, cause cinematograhpers prefer guys who learned in the field than college graduates, in a more personal note, i can't get a job as an AC right now, and i learned how to assist 16 and 35mm cameras before i went to film school, because the market (at least in argentina), is flooded with college graduates that doesn't have the expierience needed to be in a crew, so i guess that my point is that is not that easy for a film school graduate to get a job, by just showing your degree. hope i explained myself cause my grammar is a little rusty Juan Pablo Ramirez 1st and 2nd AC

So i wanted to know, im a young DP/AC, i've done mostly cheap short films (film and video) and one or two commercials, and i've worked also as a 1st and 2nd AC, i want to work in LA or NY, im not located in the US (actually i'm in Buenos Aires, Argentina), what would be the best possible way to find work in the US, with today current situation, i mean work in a camera crew, as anything from videassist to serve coffe, how does one settle in the US to work in either films or commercials to work my way in the ranks to be a DP in the US. Also i constantly read about the new cameras that i dont have acces to, as the genesis, arri d-21, and try to stay in touch with the latest products in film and video. Hope i explained myself cause my english grammar is a little rusty. Juan Pablo Ramirez 1st and 2nd AC. Buenos Aires, Argentina/Guatemala, Guatemala.

So i wanted to know, im a young DP, i've done mostly cheap short films (film and video) and one or two commercials, and i've worked also as a 1st and 2nd AC, i want to work in LA or NY, im not located in the US (actually i'm in Buenos Aires, Argentina), what would be the best possible way to find work in the US, with today current situation, i mean work in a camera crew, as anything from videassist to serve coffe, how does one settle in the US to work in either films or commercials to work my way in the ranks to be a DP in the US. Hope i explained myself cause my english grammar is a little rusty. Juan Pablo Ramirez 1st and 2nd AC. Buenos Aires, Argentina/Guatemala, Guatemala.

Imo Chris Doyle is one of the best cinematographers alive, his sense of framing and lightning is unique, he said in one interview that in order to tell stories (in cinema) you have to live, cause then you have something to say, that's why he started to film at his early 30's, i think he border the line of genious, and nuttcase, but his work speaks for himself, In the mood for love, is one the the best movies that i've seen and the cinematography of doyle in that movie changed the way i saw the craft. If going nuts like that makes you film beatuful films i wanna go nuts like doyle, lol. and hes not the mick jagger of cinematography, he already said that hes the keith richards

right now Deakins Lubezky Delbonell Mathieson Doyle also, richardson, Deschanel, Prieto, Kaminsky, Khondji, too many is like asking a child who loves the most his mother or his father also Greg Toland Gordon Willis Lazlo Kovacs Vilmos Zigmonds

Hi i've heard that the feature film, Jumper was filmed with the RED camera was it all filmed with the red camera or just parts of it Pablo 2AC

hi, has anybody here worked with the two cameras cause i live in argentina and both cameras have arrived here and i want to know which camera works best, according with the specs of both cameras in paper the phantom is better but i want to know wich camera gives better results Pablo 2ac

ok this is a basic digital cinema question but i still don't get the diference between cmos and ccd, can someone explain me what's the basic diference between them thx Pablo

Chris doyle, roger deakins, bruno delbonell, lubezki and prieto

the cinematography of children of men is stunning, but the thing that impressed me the most was the camera work pardon my grammar english ain't my native language

can't agree with you more, and deakins took risks in cinematography like the bleach bypass for 1984, correct me if i'm wrong, and maybe the first DI for a feature film in O brother where art thou Pablo