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Miguel Angel

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About Miguel Angel

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  • Birthday 10/21/1980

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  • Location
    Spain / UK
  • My Gear
    Leica M8 / Leica M6
  • Specialties
    Commercials, narrative.

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  1. I'm translating it.. veeeery slowly! I'm happy I bought all the books I knew about cinematographers nearly 20 years ago πŸ˜„ .. they seem like a great investment now ha!
  2. Interesting topic! I have one question for you all. Which one is a digital cinema camera and which one is film? They are both shot side by side on the same day on a film I shot, same exposure. The colour variation is because of the lenses! They are both straight out of camera (the digital one having the LUT I use) In any case, I personally think that any colourist could match both in any direction. Have a good day! Regarding your questions: Are you interested in recreating a film look when acquiring a project digitally? Not strictly speaking, I think that digital cameras and film cameras are different and each have their textures. On the other hand, I reckon that film and digital intercut seamlessly at this stage. Are you currently doing anything to emulate film when shooting digital? If so what's your process? Not at all, however there is one thing that I miss from film and that's halation!.
  3. Looks fantastic AJ! Very impressed with the look of the Atlas.
  4. Well, I come from a photography background and one of the things that distinguish great photographers from average ones is that they are able to capture a story in one single frame while being truthful about it. As an example, if we take a look at the work of Sebastiao Salgado (especially in portraits) we can feel the authenticity, honesty and truth of the photo, we also feel that there is a story in the photo and around the subjects. However, the photographer deliberately chose to take a photo from that angle so he made a choice in order to tell a story. Hence, we have a photo that is authentic, it is true (as it has been taken in a true non-modified environment) but it is also an alteration of the truth because the photographer has decided to focus on X instead of Y. https://huxleyparlour.com/works/mother-and-child-at-the-korem-camp-ethiopia-1984/ I kind of think that maybe there should be a distinction in filmmaking regarding genres. Usually when you are shooting a documentary you are documenting the reality that is happening at that particular time and most of the time you're just capturing a set of images in a certain medium. However, when you are making a movie, you are altering reality to fit a purpose and in that case you are using all the tools that you have available to do so consciously.
  5. There are some examples in painting where the painters used depth of field to draw attention to what they wanted you to focus on. https://www.reynoldahouse.org/collections/object/orchid-with-two-hummingbirds Or Turner or many of the impressionists just to say a few 😊
  6. I'm used to using black paper. Easy to put in, it is extremely lightweight, you can put it up with normal cellotape and it comes in super big rolls. That's interesting! Thanks for the tip!! 😊 Have a lovely day.
  7. Fair points! I might think about putting them in! I think so as well.. it is very difficult to part with pre-established ideas that work in your head though. Thanks!!! 😊
  8. And congratulations on winning another Emmy!!! 😊 Very well deserved!
  9. Thanks Manu, there is just one new clip from The Tattoo on the reel though! 😊 Thank you Satsuki! I might agree with you on the wider day exteriors shots. Let me explain the reason why I didn't put them there. - I have a wide exterior shot (in black & white though) at the beginning of the reel with a lot of people and some action in the shot happening. - I wanted to keep the projects together and I was thinking about putting the following shot in the part where "IF" is: But I don't think that it is nice enough! - Now, I have a lot of day exterior shots in commercials and I thought about putting some together at the end of the reel, but then it wouldn't have been just focused on narrative projects (I reckon!) I might be wrong though! Regarding music, my initial thought about it was to use this music (from this point to the end) https://youtu.be/lEMIKBiDHeo?t=86 I cut a reel with that music and I thought that it was REALLY good, my friends told me that the music was too much and didn't match the images nor the passion I have when I take on a project though. If I still have a working file of that reel I'll upload it so anybody who is looking to cut their reel can take a look at it and see the start of the project and the end! 😊 Well, let's see if my reel works and I end up shooting a feature or a tv series because of it! 😊
  10. You all know that I hate reels but after much consideration I ended up making one. Now, I have no idea whether is good or not but I do think that it is tailored to narrative work and maybe it would help somebody when cutting their reel! It took me 4 months to find the song I thought that represented me a bit and cutting the reel has been a great way to realise even more that I just want to shoot wonderful human stories instead of commercials. Also.. I just graduated from college (believe it or not πŸ˜‚πŸ˜‚)
  11. I like what you did with the music to break the pace of the reel. However, I'm confused as to what kind of projects you want to get with it, is it music videos or narrative features / dramas / shorts? I would consider cutting two shorter reels, one for music videos and one for narrative projects. I know that cutting a reel is kind of an ordeal but you have to make sure what is what you want to achieve with it in the bigger picture. Also, a question I asked myself when cutting my reel was: What music does represent me? Even though most people watch reels with the music off, I'd say that if you take the time to see your reel as a piece of personal work that encapsulates your work as well as says something about you, that's a win-win. Hope it makes sense?
  12. Hilite The sun hitting the table on the first 4 seconds of this commercial is diffused with Hilite.
  13. I still remember this scene because you could see her and her performance, on top of being lit beautifully!!!. I'm so tired of not being able to see the actors / actresses in "night scenes" in movies / tv series that this scene was pretty inspiring!. I think that we all cinematographers (me included of course) fall into the trap at some stage of trying to make things dark when 99% of the times there is no reason as to why not to see the face of the character. Making the decision to light somebody's face in a night scene feels extremely courageous sometimes.
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