Miguel Angel

There is something similar Phil. Take a look at this, you might find it interesting. Kindest regards.

I understand your point perfectly, excitement is something that you need to have, and getting bigger things is something that everybody wants. I see that a big amount of people don't get that excitement when shooting tho and it's kind of sad under my point of view, however let's disagree on something, just to continue the conversation. Is it not your job what you make out of it? I mean, if somebody is not happy because he / she thinks that is not getting a lot of jobs, maybe it's time for him / her to explore new markets, I don't know, what about India, Africa, etc?... It can be stressful, it can be quite challenging but I reckon it could be interesting too. For example, if I were a cinematographer who is trying to break into features, I'd go to mandy.com every day to check out if something new came up, ye are in the States and there are loads of interesting things to do all the time, I'm sure that there are people who can let you express yourself as a visual artist too, even in installations or so. The world is so small now. Kindest regards.

I agree with Richard on everything, if you want to get more jobs, don't stop shooting, get into spec commercials, short - films, indie productions, etc.. I know it's very difficult to move back to a no - budget short - film when you have shot the last Jay Z music video and the last BMW commercial, but if you have time to spare, why not? If I could, I would work 366 days yearly for the rest of my life because filming is what I love the most and my passion (even if I'm just a 2nd AC), and if I'm not filming a commercial or a movie, I'm shooting a short - film with my friends or taking photos around my island :) And I'm telling you something, if somebody would ask me: Do you wanna be a cinematographer shooting commercials for the rest of your life 300 days per year? I'd say "of course" and then I would use the money to shoot something else with my friends or new directors, oh wait, that's what I do now ha :D Adam, take a look at Rodrigo Prieto or Chivo, they went through all the way you have written, and they made it because they were (and they are) stubborn and super hard - workers, they do features, music videos, installations, short - films, etc, etc.. and they started from the scratch too.. so stop complaining :P I don't know how it works in the States or North Europe but around here you don't see either commitment or passion in 90% of the workers of this industry, they shoot something because it is what they do, and they do it as they could be in an office 8 hours per day.. they even say: I just need to get 3 or 4 days this month and then I can spend the rest of it resting and doing nothing. Shooting is so much fun!!

After reading all the thread it seems to me that your movie looks like fun! What hotel are you shooting at if you don't mind me asking? you could get an interesting view from the window with some other rooms if you are able to pick one. If you want to have something interesting in the window you could use translucent or transparent led stripes all on the window so you can choose when to turn them on, the color you want to have or even better, which one you want to use for the angle you are shooting. I've seen these transparent led stripes in Madrid in Calle Barquillo but I don't know if you will be able to get them in Sevilla. Have you thought about using mirrors or reflections to create the skylight? Regarding your question about color separation, with a room as good as that one, why don't you place a tube or a fixture with a different color temperature inside the room? I can see only one photo but providing you have the bed in the part I don't see and you have a table in between, you might want to use some different colors for lighting the bed, maybe single fluorescent tubes that you can place above the bed as a part of the set? If everything has to be red red, you could use those elements to give a good sense of depth and they will help you create the separation you're looking for, in fact, you could use a red kinoflo tube and over expose it completely so you have something different? :) You might want to talk with the director about being absolutely unrealistic when lighting this feature as it looks like the script might give you room to be as creative as you want to be with your photography. For example, if you have a big lamp hanging from the ceiling you could use that lamp to place a 1K just pointing down to the floor so you have a very hard light to create contrast, use some smoke and there you go! :)

Brilliant! Kindest regards.

It's really interesting because in Spain and in Ireland (where I work as 2ac) is usually a grip who takes care of the camera between takes and if they are very busy getting some tracks or so, the 1ac gets the camera and keeps it with him / her all the time till the 1st AD says "let's shoot", so the sooner the 1ad says cut, the faster the camera operator gives you the camera. This is kinda funny because I've been in so many commercials which were shot hand - held and the cinematographer just threw the camera off his shoulder as soon as he listened to the word "cut" so you had to be very very fast to get the camera while falling! Kindest regards.

If you want to know how much the film is going to cost, Fuji has a site called Frame 24 where you can see the prices of the different film stocks available. http://www.filmstockclearance.com Take care!

- The Shining. - The Place Beyond The Pines (the first sequence) Kindest regards.

Thanks for the recommendation, I got it today. Kindest regards.

Hi Alejandro, Let's talk a bit about the different things in your post. First of all, Spain is not the worst place to find a job within the film industry, I'm from Spain (Madrid) and I've been working in the industry since 2007. Nowadays Barcelona is getting a lot of work, it doesn't matter if it's a commercial or a movie but works tend to go to Barcelona rather than to Madrid so I'd say that it's a pretty good time to be in Barcelona right now. Let me ask you one thing: Are you studying at ESCAC, if you aren't, then you should go and check it because it's the best cinematography school in Spain and in Europe too. And after studying there you could go and do a masters, maybe at AFI or NFTS, which are very good places to study at if you are interested in cinematography, of course. There is a very very good place in Ireland which encourages its students to do what they think it's the right thing and also they allow you to explore a lot, it's called AIDT National Film School. http://www.iadt.ie/en/InformationAbout/NationalFilmSchool/ Kindest regards Alejandro.

Thank you very much!

Such a great cinematographer! It's a pity I'm not in LA to see the exhibition but I highly recommend that everybody interested in cinematography and photography goes! Thanks for posting it David. Kindest regards.

Hello. I would recommend you the Spectra Professional IV - A, it is the best lightmeter I have ever got!. You can see the specifications here: http://www.spectracine.com/product_2.html It doesn't cost too much and if you are looking for the best way of shooting a dark movie (or a bright one!), this is going to be your buddy forever. Cheers!.

Hello guys. I have shot with the Epic in almost those conditions (not -10 but -5 / -8) in a commercial in Spain and we tried to keep the camera in a tent with heaters before shooting but it was almost impossible due to the nature of the commercial, so, we ended up shooting with a cover in the camera (not covering the fan, of course) and it worked rather well!. No problems!. Lenses should be kept in the same condition than the shoot because if you don't do that you are going to suffer (from) condensation. By the way, I'm sure that it would have worked well without the cover too but you know.. "When in Rome..!" :). Advices for shooting in that climate: - Get warmers. - Get a proper tent with heaters just for the camera crew (of course more tents should be provided for G&E), if your shoot involves waiting, your guys are going to spend a lot of time in the tent, and they will be happy if they can stay in a warm place. - If you are going to use your lightmeter or colourmeter, bring a lot of batteries. - Bring a lot of batteries for the camera too!. - If you have interiors and exteriors almost at the same time, I have found a very good way to avoid condensation in lenses, get the lens in the colder place, put it inside a plastic / zip bag, close the plastic bag hermetically, bring the plastic bag to the warmer place, unzip the plastic bag and you will have your lens ready to work!. Cheers!.

Hello. You might want to consider the ASC webpage. They have plenty of podcasts about cinematography and you can subscribe to them for free. Here is the webpage with the podcasts: http://www.theasc.com/ac_magazine/podcasts.php#ac_podcast Cheers!.

Wow... Lily Kilvert!!!.. I love that woman.. she is very very polite and she has an exceptional conception of colour and design.. If you can you must talk with her about her job because she is very ¿poetical is the word? and she knows a lot about art and photography. So, in the other way I think that your better option is going to Cinevator, it is cheap and good looking. Congrats!. Bye!

So, let me think about a different way. What happens if you scout the location in a hour which you have the sun giving in the window, 3/4 or similar? Bye.

Hi there.. I love the work of Rodrigo Prieto and Steven Soderbergh.. they work in his films with a light which become a natural light.. and they have an incredible eye to frame in the correct way and show you the right action handholding the camera.. So, I've working with both and they are amazings!!. Thanks!