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Mike Maliwanag

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About Mike Maliwanag

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  • Occupation
    Cinematographer
  • Location
    Los Angeles

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  • Website URL
    http://www.mikemaliwanag.com

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  1. Really nice work AJ! I noticed some noise in certain scenes. Just curious, where you rated at ISO 5000 during those scenes? What did you rate the camera throughout the film? I think it looks great for having a half ton (at most) grip and electric package. My favorite scenes are at the end with the two kids at the warehouse. The lighting is fantastic!
  2. Hey Bradley, I feel you're on the right track and you're figuring out what you need to be successful. That being said you don't need to go to film school to make it. There are plenty of DPs who did not go that route and are creating incredible imagery. I did attend film school and I wouldn't have it any other way. I wouldn't be where I am if it weren't for film school. It's been the connections that have presented opportunities but I'd like to think it's my work ethic and (I hope) my personable nature that has maintained my relationships with producers, clients, directors, other DPs, and crew members. My advice is to reach out to other film school students and get on set. You said that you were shooting as many thesis films as possible. Keep that up. Don't just shoot their thesis films, try to shoot their first films and hopefully that can evolve to their thesis projects. Shoot and shoot as much as you can. Be the best person on set. Someone will take notice. My network has expanded by taking a job I never wanted to do. On that same gig I met the editor who asked me to shoot a small project for her. It ended up going to festivals. On her gig, I met someone else. He loved my attitude on set and reached out. Because of that one gig I never wanted, I now have two great relationships with directors and I shoot all their projects. Who knows what would've happened if I didn't take that gig. Sure you may not get shooting gigs right away and that's okay. In the meantime find work as a grip/electrician/AC. Get in with the film school crowd. Work on their sets and hopefully they'll return the favor and work on your projects. At film school, I definitely met people who I thought were students but weren't. They just wanted to learn. When I moved to L.A., those same people were either there or eventually moved and guess what they're working in the industry as either a DP, grip, electrician or AC. They're the ones to call you for work when they're shooting and need a hand on set. One more piece of advice that I took from Phedon Papamichael and he talks about it in this interview (it's $3.95 to rent and worth it). He mentioned to get on the ground floor with any director you can. Grow with them. As he/she/they start flourishing, so will your career. I took that advice to heart and I've worked my ass off finding the directors that want it as badly as I do and I have at least three or four that I shoot for regularly for narrative work and a good set of clients. Lastly, Phedon also talks about it in the interview, keep your overhead low. Find the paid work and then find the projects that gives you creative freedom. -Mike
  3. Thanks for the kind words. Here is the link and password: https://vimeo.com/denissemikin/somehowsonormal password: somehowsodenis
  4. Hey everyone, I just wanted to share some of my favorite stills from a short film I shot over a year ago. We shot on 16mm 1.33:1 aspect ratio on Kodak 7219 500T Vision 3 on an Aaton XTR. The film is about this man who has confidence issues and decides to get a new ego. The page count was around 24 pages and we had 6 shooting days and I believe we had a 6:1 shooting ratio. This was the longest page count I had shooting on film. Our lighting package consisted of (2) 4x4 kinos, (1) litemat 2L, (1) joker 800, and (2) tweenies. It was a small shoot and I'm proud of the outcome and the work of my rather small camera and lighting team. I can possibly share the password protected link if anyone is interested. Thanks!
  5. If you have a budget, why not shoot a test with 16mm B&W footage and digital footage with grain added to it. I understand money can be an issue, but if you can shoot on film, why not do it? Most camera rental houses should cut you a deal with rentals because at this point 16mm/super 16mm cameras are big paper weights. Also some post houses should also cut you a deal if you have a feature you plan on scanning. Hope this helps!
  6. Hey Miguel, That's all I needed to know! Thanks for the quick reply, I really appreciate it!
  7. Has anyone operated with an easyrig and serene arm without a gimbal? If so has the serene arm helped reduce the side to side motion when going hand held? I plan on operating a Millenium XL2 and am hoping to reduce some of the hand held look. I just don't want the hand held look to be too intense if that makes sense. Thanks! -Mike
  8. Hey guys! Definitely would love some feedback on my latest narrative reel! Thanks!!
  9. I'd prefer a camera with a tap just so I have a monitor for the director. Thanks for the quick reply!
  10. Hey Robert, Does the camera come with a video assist? -Mike
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