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Miguel Angel

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Everything posted by Miguel Angel

  1. I wish there was a lack of cinematographers in the UK too!.. maybe we are too many!
  2. 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!
  3. 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 πŸ˜„ 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
  4. 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? 😊
  5. @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!! 😊
  6. 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.
  7. 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! πŸ˜„
  8. 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!!! 😊
  9. Hi Pascale, We shot S-log 3 😊 Thanks!
  10. 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
  11. 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
  12. 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.
  13. 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.
  14. @Ruben Woodin they printed to 35mm as far as I know.
  15. Hi Ruben, There was a really good Spanish movie (O Que Arde) that was shot on Super16 but for the first scene, which was shot on a drone. https://www.youtube.com/watch?v=Cv2_i6R3stU They printed the drone shots and it matches very well (under my point of view of course) https://www.filmin.es/pelicula/lo-que-arde https://www.youtube.com/watch?v=KWdlRdCzD-w I have used the S16 Alexa Mini mode with both, the old S16 zeiss superspeed and the ultra 16 lenses, I didn't like the look of the Ultra16 on the Alexa but the superspeeds are really beautiful. Ultra16 https://vimeo.com/312168266 Super16 Superspeeds https://vimeo.com/310678277 Hope it helps! Have a good day.
  16. As far as I know you could de-squeeze the image in a monitor like a Small HD, if I can remember correctly they can do that but we haven't tested it as I'm not in Spain until June, 20th. Be careful with the resolution as @David Mullen ASC said. I just finished shooting a mini series for a well known platform in Spain, we shot anamorphic 2:1 on the Alexa Mini in the drama part and it went well but for the interviews we used the option that the Alexa Mini has to shot on anamorphic 2K and we discovered that because we were cropping 2:1 we didn't reach the specifications in height, which is what they understood for 2K (that's what we had to deliver). They were very understanding in the end but it was a bit of a crisis moment πŸ˜….
  17. Hi Sonia, I'm preparing a project exactly with the same camera and anamorphic lenses (hopefully not the same ones ha!) for a 1.33 aspect ratio in the final delivery. The best option for viewing the full 1.33:1 aspect ratio that we have come up with so far is the same as you came up with. Did you do a test with the anamorphic aspect ratio deactivated but applying an anamorphic squeeze just through the qtake / videovillage? Have a lovely day.
  18. https://www.vanityfair.com/hollywood/2021/05/tig-notaro-zack-snyder-chris-delia-army-of-the-dead "Every time you see Tig Notaro in Zack Snyder’s new zombiepalooza smash-and-grab heist movie Army of the Dead, the character you’re watching was originally played by now scandal-plagued comedian Chris D’Elia. Don’t try to picture it; that was the whole point of removing him. Snyder answered quickly when I asked him if it was a difficult decision to replace D’Elia after he was accused by multiple women of predatory sexual behavior, sometimes when they were underage. β€œI think it was a fairly easy one,” the filmmaker said, wincing."
  19. 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.. πŸ˜„ πŸ˜„ πŸ˜„
  20. Thanks @Satsuki Murashige, not my frame though! (Too bright! πŸ˜„) 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 all the time and one one the left hand side, next to an actor, that you don't see in that frame) in a 4th floor that we had to control at all times in order to do day and night sequences and where I (literally) taped the litetiles inside the windows πŸ˜„ (well, my wonderful gaffer and his team taped them) Each sequence lasted for about 2 hours and thanks to the litetiles we were able to cut the light from the sun coming from outside. Interior day Interior Night
  21. Thanks Stephen! That might be the goal for the next reel in a couple of years! 😊
  22. Thanks so much Joel! Upstage lighting is the best lighting! πŸ˜„ (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! 😊
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