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Ignacio Aguilar

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About Ignacio Aguilar

  • Birthday 03/07/1980

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    Madrid, Spain
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    Arri Alexa Mini, Arri Alexa, Red Epic Dragon

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  1. Let me know via PM if you would consider selling the 1/4 H&H Double Fog alone if it’s still available.
  2. I have re-watched this film with my older kid. I hadn't seen it in decades, but it makes me remember how underrated cinematographer Donald M. Morgan [ASC] was. What a beautiful anamorphic photography, mostly in low-light, using the gorgeous Panavision Super High Speed lenses at very wide apertures, plus a few zoom shots here and there. Beautifully directed by Carpenter, brilliant acting by both Jeff Bridges and Karen Allen, and a nice main theme by composer Jack Nitzsche. ILM's vfx work seems quite outdated, happily the film relies as less as possible on the effects. The funny thing is that Dean Cundey is mostly regarded as Carpenter's cinematographer of choice during that era (later on, they worked again on "Big Trouble in Little China", 1986, their last film together), but Donald M. Morgan had shot (very well) Robert Zemeckis’ two first movies, and had previously worked with John Carpenter for the TV movie "Elvis" (1979) and more recently adapting Stephen King's "Christine" (1983), which is very well shot too. So “Starman” was their third project together. So somehow in 1984, Carpenter and Zemeckis switched their directors of photography, as Cundey shot "Romancing The Stone" for Zemeckis and Morgan did the same with "Starman". Michael Douglas was producing the two pictures.
  3. Super High Speed Anamorphics are from the mid 70's, they were mentioned by Vilmos Zsigmond in the AC article about his photography for "Close Encounters of the Third Kind" (and you can certainly see them in action in the opening air traffic controllers scene). I've seen them in at least one pic on the set of John Carpenter's "Halloween" and I bet they were used by Richard H. Kline for many scenes of the 1976 remake of "King Kong". These lenses use Nikon glass and it's said they predate the E Series, which are Nikon as well, in design. What I don't really know is if the lenses are still around. I'd say most if not all of "Escape From New York" (1981) used them, and the night exteriors from "Die Hard" (1988) and some shots in Michael Mann's "Heat" (1995) did as well. I think Wally Pfister carried them on some of the "Batman" movies too.
  4. Selling a set of 10 Zeiss Ultra Prime lenses. 16-20-24-28-32-40-50-85-100-135mm all T1.9. Glass and mechanics are in very good condition, no known issues, rather than external signs of use. Located and available for inspection in Madrid, Spain PM for more pictures, questions and details. ASKING 65.000€ Shipping Worldwide (not included) 0% VAT offered for EU VAT Registered companies PM me or Email: info at harmonicarental dot com
  5. I have already re-watched "Moonraker" on iTunes 4K (non HDR) and it looks great. Very crisp and sharp throughout, with zero diffusion. The model effects have exceptional quality & clarity, it's rather obvious that the stuff mostly comes from original negative rather than optical printing (maybe the laser effects are the exception to the rule, but there are so many onscreen elements during those that it's hard to tell just looking at the film). The brazilian scenes look the best, with some great exterior photography (although the cable raiway scenes could have had better front projection effects, as the plates look very washed out). Lois Chiles and the other Bond girls are very well lit as David said. And I liked too the way the bunker in the jungle was handled, that Ken Adam set must have been very difficult to light as there are no places to hide the fixtures. But there are several flatly lit scenes (those with "M" stand out) and a very old fashioned approach with hard lights here and there, completely unmotivated. I also think that the accelerated shots during the editing don't help much either.
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