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Miguel Angel

Premium Member
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About Miguel Angel

  • Birthday 10/21/1980

Profile Information

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

Contact Methods

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

Recent Profile Visitors

37618 profile views
  1. You could watch two masterpieces in lighting (and directing) called "Leviathan" and "Loveless", both directed by Andrey Zvyagintsev and lit marvellously by Mikhail Krichman. You might find interesting night scenes there. Have a good day!
  2. Even though I don't really like anamorphic anymore I think that the Technos are quite good AND BIG but they are super lightweight for hand-held!! They don't feel sharp and they resolve faces pretty well, especially because I think that the 40mm and the 50mm do a great job at focusing your attention at the center of the lens. The 75mm was my favourite (we had the 40, 50 and 75). I loved the close focus on the 40mm and the 50mm! I wish they weren't that contrasty overall and looked a bit more like the Xtal Xpress. I had a Black Diffusion FX 1 all the time on them and shot at 10.000asa on the Venice underexposing 1 1/2 stop as well so maybe I shouldn't judge them based on this project 😄 Perhaps Ps+technik could develop a diopter to put at the back of the lenses to detune them or take the coat off them to make them a tad softer. These are some screengrabs from yesterday's colour grading session where our colourist put a lot of grain in it (90% of the commercial is archive material so we had to kind of match the feeling of what we shot to that) We used the Technos for 2 sequences (bar and van) and the Supremes for another 2 (office and supermarket) It is all available and natural light modified with a clrs frame or a 2 meters x 2 meters frame. These below are the Supremes
  3. The spot looks absolutely fantastic! Love the nights in the stadium and the exterior days. Who colour graded it if you don't mind me asking? 😊
  4. @Gregory Irwin just wanted to chime in to say that I shot a commercial last Friday with the Technovision lenses and your lens sheet was very handy!! 😊
  5. I used to use the S16 mode on the Alexa Mini a lot with a variety of lenses. The ones that I loved the most were the Old Super Speed lenses for S16 (the ones with the triangular bokeh). Here is an extremely low budget commercial I shot with that combo (the grading is almost exactly as I shot it). https://vimeo.com/310678277 Here is another one with the Super16 + Ultra 16 (I didn't like the look of it after the grading, I wasn't involved in it) https://vimeo.com/312168266 Hope it helps.
  6. Buenas Stephen! The link is in the above post but I'll put it here too 😊 https://www.rtve.es/play/videos/edelweiss/ Hopefully you will like it.. and if you don't, let me know too ha! 😄
  7. Hi al!! Between November & December 2020 and March 2021 I had the pleasure of shooting my first mini series as a cinematographer, a docudrama (if that is a word) for the Spanish national broadcaster called Edelweiss. It is 4 episodes x 35 minutes each, we shot the documentary bits for 4 weeks around Spain in November and December 2020 with a team of 6 people and the drama bits in March 2021 for 1 week with a small size unit (kind of short-film size). The budget was €350K and what attracted me to the project was the story since it is about the biggest child sexual trafficking case in Spain, which happened a few decades ago. It was an interesting production to work on, with a lot of challenges and a lot of things to think about after wrapping it up, good things and bad things as well. The most important thing is that I learnt a lot about how to be efficient blocking and lighting wise and a lot more about management (and I mean A LOT MORE!!) Here is the trailer (which doesn't show much..) and the full mini series with English subtitles if you want to watch it. Edelweiss - Mini series https://www.rtve.es/play/videos/edelweiss/ Critics and comments are welcome!!! 😊
  8. Hi Pascale, We shot S-log 3 😊 Thanks!
  9. The movie is really good and the cinematography is wonderful but it doesn't use natural light that much, which I think is wonderful because the movie feels like it is lit by natural and available light sometimes! https://www.red.com/news/claire-mathon-afc
  10. That's what he (and all my focus pullers friends) complained about. Maybe they will fix it with the release of the new WCU5 (or however it will be called)? 😊 Was this you @David Mullen ASC when the lens failed? 😊 https://www.youtube.com/watch?v=3KZ6mIsbDc4
  11. 6 weeks of prep for testing lenses?! Not even when I was a 2nd AC on Knight & Day or any other major US motion picture we had that! Wow! In Spain and Ireland nobody is using Prestons anymore because of the power of the motors and how they affect the older lenses that are becoming more and more popular. A friend of mine who has a Preston was a 1st AC on a massive movie shot with the B Series and they had to change the Preston on day 1 of prep because the lenses couldn't handle it. They are all using WC4s now (which apparently brings different problems) but it seems like a better solution when you use old lenses.
  12. This looks like it could be an interesting solution for shooting on a 2:1 aspect ratio on film with 25% more of running time.
  13. @Ruben Woodin they printed to 35mm as far as I know.
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