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Miguel Angel

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Everything posted by Miguel Angel

  1. Thanks @Manu Delpech!! We got into the long shortlist of documentaries nominated for the Goya Awards in Spain!!! Which is quite a thing because short documentaries is kind of the category that nobody cares about ha!. Yesterday the Spanish Film Academy announced the four short docs nominated for the final round and sadly we weren't there, but that's ok! We are happy to have been in the 1st shortlist! 😊
  2. Thank you very much @Dom Jaeger and @Tyler Purcell 😊 I just got super good news. The commercial campaign: "Electricity's positive bill" won GOLD at Directing and SILVER at Cinematography in the FIAP awards in South America, which over 50 years have been one of the key festivals, together with El Sol Festival, in the commercial world in South America. https://fiapawards.com/ganadores
  3. Back in November 2019 my friend Borja Larrondo asked me if I wanted to shoot a new commercial for Medecins Du Monde like the previous one that we had shot together in 2018 but with three twists: 1) It was going to be set in an unknown (at the time) location in Africa. 2) We were going to document what was happening in that unknown location in Africa. 3) It was going to be during nighttime and with no light at all! I obviously said yes and after months of discussions and preparations we went to Sierra Leone to shoot a documentary about the reasons as to why hospitals there didn't have electricity and how that affected the people from different areas of the country. We were in Sierra Leone for several days and when we went back to Spain we had 3 days to review the material and edit it because Medecins Du Monde Spain wanted to launch the campaign as soon as possible.. Nerea MugΓΌerza, our editor, did an amazing job with all the footage that we got, she really shaped the documentary and created a sense of story. Not only that but she also created the different cuts for the commercial campaigns that the client wanted to deliver. Right after those 3 days we were ready to colour grade the commercial cuts and then Covid happened and Medecins Du Monde stopped all the processes. At that time we were really sad because we didn't know when we were going to be able to show the reality of what was happening in Sierra Leone but it really helped us achieve what we wanted to achieve in the post production process with the documentary and the commercial campaigns. Because of Covid we were able to work with extraordinary colour grader Jenny Montgomery from Company 3, which was like a dream for us because we didn't have any money to give to them. We sent her the material and when it came back it was the first time in my life that I didn't have anything to say in a colour grade other than: "WOW!". Sound postproduction had more time to work on it and when we finished everything several months later we still didn't know what was going to happen with the commercial campaigns. It turns out that Medecins Du Monde did know what was going to happen because they asked us to shoot a similar documentary in December 2021 focused on the lack of energy in one part of Madrid called "La CaΓ±ada Real", which you can learn about on here (https://www.theguardian.com/world/2021/oct/27/you-kind-of-die-life-without-power-in-the-canada-real-spain). I joined Borja and we went to La CaΓ±ada Real to talk to people and convince them to let us film their daily lives, after one week being there we grabbed a camera and we started shooting for 2 days. This time Medecins Du Monde Spain wanted to broadcast the campaign as soon as they could and that meant that we weren't going to have the luxury of time to post produce things as we wanted. Regarding colour grading we decided that we wanted to work with people who understood Madrid and the culture of La CaΓ±ada Real and after some suggestions from the production company, Lobo Kane, we went to colour grade with GradePunk and Sebastian did an amazing job trying to maintain the quality of the colour grading that we had in Sierra Leone but giving a distinctive look to the part in Madrid that he was colour grading. The great @Phil Rhodes wrote a wonderful article about the documentary back in July 2020 when we were in the middle of knowing who was going to colour grade the documentary. You can read about it on here: https://www.thebroadcastbridge.com/content/entry/15328/creative-analysis-part-3-the-road-bad-the-place-dark-from-the-cinematograph As of now, the documentary has been selected and showed in different film festivals and has gotten one cinematography award, the BEST CINEMATOGRAPHY AWARD (INTERNATIONAL SHORT) at the Thin Line Film Festival. The commercial campaign has gotten two cinematography awards so far. Best Cinematography at the Emerging Directors Awards 2022 in Ireland and the Bronze Award in Film Craft in the CDEC in Spain 2022. You can watch the commercial campaign here And the trailer for the documentary here
  4. I think that you should cover it for the BSC magazine πŸ˜‰ They sure would! They took mine indeed but I was very happy to pay for it. You should come Mark!
  5. Hi all! Just wanted to know if any of you who live in the United Kingdom is going to head over the BSC workshop / masterclass this coming weekend?. I'm looking at you @Phil Rhodes?? Super excited about this as Mandy Walker is going to be there, as well as Sean Bobbitt, Chris Ross, Ula Pontikos and Rob Hardy!
  6. I wish there was a lack of cinematographers in the UK too!.. maybe we are too many!
  7. 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!
  8. 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
  9. 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? 😊
  10. @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!! 😊
  11. 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.
  12. 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˜„
  13. 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!!! 😊
  14. Hi Pascale, We shot S-log 3 😊 Thanks!
  15. 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
  16. 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
  17. 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.
  18. 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.
  19. @Ruben Woodin they printed to 35mm as far as I know.
  20. 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.
  21. 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˜….
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