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Ignacio Aguilar

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About Ignacio Aguilar

  • Birthday 03/07/1980

Profile Information

  • Occupation
    Cinematographer
  • Location
    Madrid, Spain
  • My Gear
    Arri Alexa Mini, Arri Alexa, Red Epic Dragon

Contact Methods

  • Website URL
    http://www.harmonicacinema.com/ignacio-aguilar/

Recent Profile Visitors

7922 profile views
  1. Selling again the camera. The price has been lowered. Get in touch if interested.
  2. Hello, I want to buy a used OConnor head in good or very good condition. Located in Europe. Please PM to get in touch if you have one. Regards.
  3. Let me know via PM if you would consider selling the 1/4 H&H Double Fog alone if it’s still available.
  4. 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 ILM's vfx work seems quite outdated, happily the film relies as less as possible on the effects.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.
  5. 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.
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