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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. 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.
  2. @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.
  3. 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.
  4. 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!
  5. 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.
  6. 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.
  7. Extremely impressive! I wonder how many times they rehearsed it.
  8. @Manu Delpech, @Satsuki Murashige, @Stephen Perera, @Giray Izcan Thanks to all of you!!! 😊 December has been a bit crazy and I have had, literally, no time to do anything than working and studying (I'm doing a masters in UX Design) on the 1 day off that I had per week! Here is the link to the piece of news if any wants to take a look at it: https://icad.ie/student_greenhorn_2020/ @Stephen Perera I love that shot too, although I think that my favourite one is the close up of him after that one! Have a lovely day all and happy new year!!
  9. I just got a wonderful piece of news! If has been nominated to best cinematography in the ICAD awards 2020 in the student craft category! 😊 (It has also been nominated to best direction in the normal craft awards 😊) The winners are announced tomorrow night! Fingers crossed!!! 😊
  10. I'm translating it.. veeeery slowly! I'm happy I bought all the books I knew about cinematographers nearly 20 years ago 😄 .. they seem like a great investment now ha!
  11. 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 speakin
  12. Looks fantastic AJ! Very impressed with the look of the Atlas.
  13. 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 t
  14. 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 😊
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