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Fito Pardo Cinematographer

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About Fito Pardo Cinematographer

  • Birthday 08/17/1972

Profile Information

  • Occupation
    Cinematographer
  • Location
    Mexico
  • My Gear
    Canon, Arri, RED, Sony
  • Specialties
    Specializated in Cinematography all, from Lights to cameras

Contact Methods

  • Website URL
    http://www.fitopardo.com
  1. That is not glossy, that is plain lighting with contrast (lots of it) on the above image you can see light just from one side the green texture is way more flatter than glossy, is probably that same instagram look that you can create in curves. In the bellow image you have less contrast but still is contrast, you have one source light on his right side, lights from the car and lights on the street, probably the color correction went to contrast and dark looks, still I dont see it glossy. Any way if you are looking for that very sharp look on newer films, probably that is because sharp settings are high, they are shooting in one of the newer digital cameras with out grain and in post they force the look to see it way more sharp than from the camera and less grain, it might also have the shutter closed so you can get a very strong glossy look.
  2. Well, what I do all the time is do some testing with still photos to photoshop to get the right look try to watch this: Or write in search of youtube: instagram look in photoshop, the curves pallete is the same everywhere, when i match what I am looking to do, I go to my color corrector and ask the same look and push the limits of the curves pallete of the DaVinci or any color correction program that you might have access to.
  3. I seen both and they look more flat than glossy, but if you want to make that look just play with curves on any davincci, there are tons of demos on youtoube on how to make that same look,but I can be mistaken and you mean the contrasty look, so just play with contrast on your film.
  4. Darren, I shoot a feature film with regular still photo lenses, we did not had money for the film and back then no one knew us so we had to shoot it with what we had. I can tell you a lot about them and why I am shooting with film lenses now more than ever, start in the smoothness of the lenses specially the zooom lenses, like the Canon CN-E (the cine lenses) like the 30-300mm against any regular zoom for stills, it will be the smoothness on the movement of the frame and while following the actors, for me this is the main issue, there are some other issues like zooming in control of a mark following an actor and getting the right bokeh on the shot with out jumps, because still lenses are not made for following a shot in zoom. For primes, I always look for lenses that have the less glass inside it will make the less reflections in the image, I always take off the filters even the UV's except when I really need them, in a situation I need to darken the image to have the best T stop, but I am always looking for Prime lenses that have the less glass inside, there will be a lot of different reasons, for me is precision, and like "Bill DiPietra" said you really need a lens with marks, specially if you have a small aperture and you are following marks. Look for the back of the lenses I am kind of control freak of this issue, I always look for lenses that in the back they have big glass opening instead of small the biggest the lens in the back the more light you will have and a lot of cheap lenses the back lens is really small and while they say they give you T1.5 they will not give you light, I was shooting in a rainforest with a kit of Rokinon lenses (that I really hate) but the director wanted to use them, they were like the jewel kit from the director, so I was shooting at 6pm in the middle of the rainforest, it was a master shot and only shot I could do from a native I was using a RED EPIC, it should work but it didn't there was not more light, I told the director that I had to change the lens to one of my photo still lenses and he though I was crazy, I put the lens in the camera, this was a Canon 85mm 1.8 and that fixed the problem, there was enought light to shoot the problem. So just know what you have and make a lot of tests on you lenses, it doesn't matter when you are in independent films that much which lens you are using, just make tests before shooting and know what you are looking for and if that cheap lens gives you the look you are looking for, then use it bring us intersting things to the screen things that us DP's are not use to see, use creaivity and have good luck and fun while shooting!
  5. I remember shooting something similar, but in 16mm and I was shooting inside a 7Eleven, That did not had permition to change the lights, so we shoot with the regular flourecent green color bulbs, but my film stock was 250D (color tmperature blue) and what I got it was a color very similar to that one in the photo. But then again you can manipulate the image now in post production and get those same colors
  6. Is a really nice camera for the colors and image, but really heavy, I used 3 for a project, I did not had movement creativity, I had to relay in asistants (we did not had cranes to move the camera around, and we were on a beach, it was a like guerrilla shot, we used them for plates for green screen on Mexican soap operas, so for what it was it was ok.
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