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

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  1. I thought C stands where a rarity in the UK and you could only find them at a certain time, date and location.. usually at night, wandering around.. 😄 😄 😄
  2. Thanks @Satsuki Murashige, not my frame though! (Too bright! 😄) It was the frame my gaffer in Milano produced from his phone when we were shooting the Gillette Venus commercial to show me how an interior day would look like when lit with Litemats. I saw it and I was sold on the method! It is so efficient and as you said, elegant, that I have been using it every time I can. These frames below (not colour graded) are an interior day and night of a mini series I just finished shooting where we had three windows (2 windows that you see in the frames that we were going to see al
  3. Thanks Stephen! That might be the goal for the next reel in a couple of years! 😊
  4. Thanks so much Joel! Upstage lighting is the best lighting! 😄 (although not the right one all the time!) I didn't even know that it was a thing.. until Mr. Morris Flam taught me so in a course I did! I learnt to light with Mo Flam! He is an amazing gaffer and a great tutor. Many thanks David! 😊
  5. Hi @Ben Kahn, @Satsuki Murashigealready highlighted a lot of things to ask for, I have another question: - Does the director want to see ALL the windows open? Maybe you could talk him / her about just having one of the windows on the side open! If the director doesn't want to see all the windows open you could place Litetiles on the windows (and curtains or voile) that the director doesn't want to see open. As the litetiles have a black back the sun wouldn't be able to enter through the windows and your light will be exactly the same through the hours / days, letting you play wit
  6. Hi, If your scene is composed of several shots and you think that the shoot of the scene is going to last for a couple of hours I'd suggest to look for a location that is north orientated or is in the shade for most of the day. If you get one of those locations you will be able to shoot for a couple of hours without the light changing much. You can add 1/4 of CTB to the windows, put some voile nets / curtains over the windows and there you go. I did the above in a sequence from this commercial (00:40) https://vimeo.com/430717354 The warm light inside the bathroom is a
  7. After watching Lupin on Netflix (which was shot with the lenses you're testing at the moment) they remind me a bit of the Xtal Xpress. Also, the close focus is fantastic, 19 inches! You changed a bit Greg 😛
  8. This is super good! The soap + water diffusion is amazing. I wonder how any production designer would react to me asking for all the windows on a set to be filled with soap + water 😄 . Thanks for posting it.
  9. @Viggo Söderberg If you want to shoot a scene in red, shoot it in red. Forget about colourists, LUTs and post-production, the best thing that you can do is to achieve the look that you're after on set with a light that is red. In fairness, the images on your post look just a bit overexposed to me (maybe because I like contrast. If it helps, I have shot plenty of scenes just with red (somehow!) and what I was seeing on set is what was in the final product. Examples on my reel (the train sequence basically) Have a good day.
  10. I totally agree with Stuart. What you can accomplish in terms of connections and work in NFTS or AFI is way superior to what you can achieve in your own terms. Remember that you will meet with loads of directors there and other cinematographers whom you will be friends with and they will help you in your career eventually. If I had gone to the NFTS or AFI (as I was planning to) I would be shooting high-end tv series or features in the UK or USA for sure. Have a good day.
  11. Hi Jake, welcome to the forum. Under my point of view it is just too short to see what you can do as a cinematographer, I'd say that you should try to aim for, at least, 1 minute. It might also help to focus on just one thing, be it narrative or corporate or whatever! Have a good day!
  12. You can see the 35mm Todd Ao in action at the beginning of the mini series when the kids are on the streets wandering around. Really nice.
  13. You can take a look at the following mini series: When They See Us It was shot with the LF, Todd Ao's and Meru anamorphic lenses. Hope it helps.
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