Luiz Augusto Moura

I didn't shot a feature film yet, but today my kit is basically: some basic tools, a rain coat, towels, gloves, knee pads and a director's viewfinder. Or: anything that helps you to: 1) achieve the best shot possible; 2) feel confortable to operate for a longer time - with less stress.

hahah que legal, Davi, encontrar mais gente do Brasil aqui. Tá trabalhando por aí? Eu sou de São Paulo, mas estou morando em São Paulo e no Rio de Janeiro - dependendo de onde estou trabalhando no momento (hoje, por exemplo, estou em São Paulo, mas logo mais vou pro Rio). E po, valeu! Depois manda o seu.

Oh, ok! Now I saw what you said. @0:24 I was running with the kid, handheld camera. We've done 3-4 takes of it and that was the editor's choice, maybe there's one or two takes that I got all him in frame, but I really wanted to go the most close as possible to the actor to get his expression (the same time that we could see the books) @0:46 It was my choice. Two steps away to get all Jean's head I would be too far (I couldn't shot in low angle by scenery issues), and my priority in this shot was his eyes reacting to the screenplay. You can look @0:48: all his head in the frame, but doesn't look right to me. @1:00 Again, my choice. At this moment (of the film) this character is like a ghost in the story's context, so I cut him and lit him by silhouette in almost all his scenes at this moment. @1:02 The ad I told you, reframed by the client/agency. @1:16 There, yes, an error of movement. The camera should turn (and move some steps back) slowly of the actress face to both characters, all in frame. Again, we've done a few takes (I really don't remember if we got one better), but it was the editor/director's choice looking the acting. I understand your point and, looking all my stuff, there's a tendency and there's a (personal) thing with actors/actresses' eyes that makes me cut heads with no hesitation. haha maybe some things to fix, much to think about. Thanks Simon!

Hey Simon! In the ad (the children smilling), it happened the client/agency decided to transform 1.77:1 on cinemascope in editing process and reframe by their own. Except these, the others were on purpose. It has one or some that really bothers you?

Hey Vivek! Yes, there's a lot of noise, but I don't think it was just by pushing in post. This was my first time with FS7 (april/may 2015) and I made the huge mistake of just believe in native ISO of 2000 no matter what, which sounded great on the ocasion, since we had just 2 small led panels (40x40) for the job, there was no time to test anything and our locations were too far - with no internet signal to read a review or a test. Luck of mine it was a small job, small expectations, just for web.

Hey Stef, nice work! I just felt the grain have been used like a ~signature of your work, not exactly as a narrative component. Ok, music videos are very visuals, but I don't know if (almost) everything with the same look is a good thing for you. ...and, I would love to have a gif of 0:20 scene. What a great shot.

Thanks John! Too many light sources and the need to reduce costs is getting ridiculous here in Brazil. With a good spectrometer I hope to get some better options in cost-benefit. I think these companies are seeing this now, mainly because to them is a pretty good deal make more options for color filtration. But it depends on more professionals (new/mid level) use these tools and know what they need.

Hey guys. I'm thinking about buy a spectrometer, and I saw the Sekonic's C700 So, I read some reviews on B&H and other websites.. and they're very different: some say that the C700 don't measure green/magenta and some say that's awesome and gives all control you need. haha Someone here is using this model? Someone recommends another model? Thanks

Hey guys, thanks for all responses About the flat images, there's only 3 images 100% ungraded: 00:13, 01:08, 01:22. A few images (like those two between 00:32 - 00:37) was graded just a little bit. Not exactly my choice, but it's how it appears on the films. A great part of the learning I had on this first year as a cinematographer refers at the workflow. I mean, we talk/read a lot about the artistic and technical aspects of the job - lighting, framing, when/how to make some choices, etc, but the most difficult aspect is the human thing - how to deal with egos (aka director's acting like "I'm the director and the colorist, so..."). This kind of situation was really helpful for me, now I know when/how to talk with directors to avoid some stressful situations, how to approach (the process) in the post production, and the most important, when I just cannot work with somebody. I think we all went through it. And Bill, I have to say: I read some of your comments about the music (in other works) before edit my reel. haha so, thank you!

Hey guys, First reel ever and first post here. Feel free to sincere criticism. I'm not emotional. haha thanks