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Sergio Montiel

Basic Member
  • Content Count

    3
  • Joined

  • Last visited

About Sergio Montiel

  • Rank
    New
  • Birthday 09/20/1989

Profile Information

  • Occupation
    Director
  • Location
    New York
  • My Gear
    Alexa, Red, Blackmagic 4K, Pocket, C300
  • Specialties
    Strong DP/Editing Background
    Shoots wide for narrative. If it's shown on a big screen, rarely shoot longer than 25-27.
    Studio-style. Camera on track always. Dolly combined with a slider, sometimes a jib w/ rem head.
    My obsession is depth in the mis-en-scene. Inspired by the 70mm masters like Ron Fricke and David Lean and Kubrick, love grand epic vistas in large format. Love filmmakers who embrace this larger than life style of cinema which has sadly died (but is/will resurface soon).

Contact Methods

  • Website URL
    http://tabula.tv
  1. Right, I don't doubt there'll be plenty of artifice in the solution, that's always the case. Luckily there's no real plane wide interaction in the script so the only real parts where a solution is needed is in scenes where we see down the aisle such as the beginning, dinner and stuff. Most of it is a frontal twofer and singles. There is still the possibility I could get a couple hours to shoot plates on a bigger plane. I'm not very experienced with more complex VFX like extensions and matte paintings and stuff, and I happen to be in a market with limited need for these pros so most likely
  2. Hey guys, long time lurker here but this is my first post. Feel free to move my post to the right forum if necessary So I got a script set in an airplane. It is a transcontinental flight, NY to Sao Paolo which are 90% of the time flying in big 767 or 777s (don't remember which one is which). These are usually in the 2-5-2 seating configuration I think. Big plane. And because of our budget we'll get to shoot in one of these: Bombardier CRJ 200 https://www.amaszonas.com/images/nuestra_flota/galeria/amaszonas_crj_200_34.jpg This is an indie short being made in Paraguay and we have t
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