Turrents interviewed Pol, director of photography

Following the line initiated by EfectoHD interviews, we now have the opportunity to speak with the director of photography turrents Pol. You could say that Pol is a pioneer in the use of HD technology and digital cinema in Spain, made from the platform TEA ( TodosEnAlta) and his blog Blogotea , shared with Jamie Garcia , has long promoted the knowledge of these technologies. It is also a trainer in this field and has experience in productions with unusual formats such as high-speed filming and broadcast in 3D, the first experiences of this kind in Europe. You are about to release his second feature as cinematographer, Xtrems , Abel Folk and Joan Riedweg and is credited with other films such as Black Buenos Aires and Salvador Puig Antich.

• EfectoHD: Who is Pol turrents and how you became Director of photography?

Pol turrents: Now you've said, am a director of photography, with a tendency to freak (whether film, music, television or technological), and still do not know how I became a director of photography, really.

I started with 14 years in local television from barcelona (Clot TV), where I spent quite some time, as he began to work in shorts, some indie film and eventually I evolved in parallel in the fields of fiction and television. I went through Via Digital, TV3, TVE made a documentary ... and when I decided I wanted to be director of photography "and seriously," virtually stopped television.

The birth of a HD-freaky

• EHD: Forms part of the platform DIGITEA that promotes knowledge and use of new technologies in Spain HD. You are a benchmark in this country for all who want to work and train in these new formats, but how and with what resources you have you made in this field? Ultimately How did you become a HDfreaky?

PT: I suppose it was a natural evolution. I started as an autodidact (like my dear friends and Rafa Garcia Gabi Roche), and little by little we specialized by natural selection.

I did some High Definition Workshops in the U.S. when the Varicam or had come to Spain, and the same product manager for Panasonic Broadcast USA told me that someone who knew perfectly a video camera and how to shoot in HD Super16mm was meat. He was not mistaken ...

Being first, we allowed a group (the core freakis hd classic!) Be on a first production line that otherwise could not have come so quickly.

• EHD: With the new recording formats comes a new figure in the shooting, the technician in HD What exactly is the role of a technical HD and what is its relationship with the director of photography?

PT: Some time ago I did an interview for defining Videopopular, and associated with the figure of Technicolor, which was to the shooting in their day to tell the picture dires colors and contrasts how they would look once the process of colorization. Its greatest exponent was Natalie Kalmus and can be considered to work like technicians.

In fact, the responsibility for these is in line to fill a need for some knowledge of digital processes of the directors of photography. It helps with exposure to the waveform monitor, the camera settings and ultimately with any questions you may have about the support.

That yes, I have a theory that is a figure in extinction. By natural process, we should not take someone "supplying" our lack of knowledge in any field. It is as if I did a shoot 35mm now and ask them to send me a photochemical technician to take me the meter.

• EHD: I said that "it is good to have latitude and sharpness to destroy" ... the digital negative, and other RED revolution, what affects the direction of traditional photography?

PT: I have the conviction that ultimately does not affect. The direction of light, intentionality, the base, the essence of cinema is the same. Change tools, and can affect the narrative as the fact photochemical negative change (for example between Fuji and Kodak), but once adapted to the new field, the support has advantages and disadvantages in some cases much improved compared to 35mm (no noise sensitivity, for example) or-worse-far as the latitude in areas of high beams.

Moreover, we must also recognize that the use of digital, especially in its first season, was adapted by filmmakers who want to innovate and experiment (Julio Medem Michael Mann), who get to explore areas that offered the creative digital opted for the 35mm aesthetic far away they did think that things went digital "rare." Today that is no longer so, and there are hundreds of productions that the public not even aware that they are made digital.

Part deserves mention also the arrival of the Red One, this camera is obviously its cost / quality ratio is setting pace of vertigo has generated a specific aesthetic to be used in one of the specific ways that makes are being massively using a washed image presets, Gabi Garcia brilliantly defined as the Ikea look (because it is used by the spots in that company) and which has fallen so much criticism from those who did not understand that we criticized the chamber, but unconscious use.

• EHD: ... but to what extent are always needed 4k, and the race for megapixels in photography? Is there currently an excessive concern for cleanliness and sharpness of the image, leaving out other aspects? (The IKEA look to Gabi spoke in one of your blog entries)

PT: The 4k have merit in recruitment, especially if they are to follow important processes of image manipulation ... however ... I find it hard to display as well. I spend my life detail disabling circuit cameras and camera putting diffusers to avoid that feeling so horrible rabid focus.

Xtrems about to premiere

PT: This movie is the dream of any operator. First-rate actors, technical resources to the task, a light and camera equipment to make the wave, and two co-heads mostly wonderful.

Xtrems visual is insane where my managers have allowed me to experience lujazo, investigate and play with color and contrast to levels that would hesitate to make up a video clip. I got involved personally with my admired Joan Xtrems Riedweg (co-director with Abel Folk), which at the time, preparing the film, asked me to assist in the technical part. When a bit of shooting down the cinematographer, Joan and Abel offered it to me me, and woke up in a few weeks.

At a formal level, is a film that blends the docu-fiction, and we work above the world textures and colors. The theme of the film (addictions), allowed us to go the limit and out of hand (when necessary) the image.

If you see the trailer you will see a mix of crazy pictures with color correction very different beasts and each other, but viewed in succession, the image appears uniform. In fact has made me dream of most criticisms I have read, in which no mention of the photograph. Everyone talks about the actors, script, direction. If the movie fails in its database, the picture would be insultingly obvious and would have failed miserably.

Some frames Xtrems

• EHD: What has been your involvement level post?

PT: I like being in the pospo much as I can. I love the digital processes and in some moments of my life, time, I have been a composer and colorful image, which I like to be careful and always try to remove as much of the material we have. In this case also, we had Apuntolapospo, with three of his genius at the head, Jose Maria Aragones, Xavi Tribó and Pepin. In addition to highlighting the tremendous work and coordination effects (we had seven different camera models, with their mixed files!), I can only do the wave to the colorful, Pepin, that if you admired his earlier work, I am now your fan number 1. Pepin quickly understood the visual concepts of the movie and the first day they began their contributions (as crazy as ours) that led us to build an unusual aesthetic.

• EHD: By the way "I thought I saw the Arri with a Lensbaby in the making?

PT: Yes, on a trip to the USA, found in the middle of Salt Lake City shooting a HUGE shop in the middle of absolutely nothing else, and went with a premise: "Véndanme something that does not exist in Spain." I took a Lensbaby for Nikon, and from the moment I love with that lens. I followed the project of this company and when I saw that Janusz Kaminski made a film with a Lensbaby amended ( The Diving Bell and the Butterfly) I got excited. Visually it was amazing and thanks to that movie, lensbabies took to get a PL mount version just when Joan gave me the movie. I did not think twice, and when he asked .... We fell in love at all. In the film, leaving enough material is rolled with it and in particular is a scene with Edward Farrell has me mad as it was through the lens. I have subsequently been used in some video and just give the just for use by some friends in a horror movie. The truth is that the effect is brutal (you can refer your site to see the effect: http://lensbaby.com/ ) and, as a few units there is little (or nothing!) seen.

Shoots high-speed 3D

• EHD: technician also serves as high-speed production, for example, has rolled Phantom . What technical challenges to overcome in this type of production? What level to address problems posed photo shoot at high speeds?

PT: Well, more than a technician, I worked as cinematographer making me myself Technician (here's my reel HS ). I have worked with Weisscam and Phantom, with speeds up to 1000fps. Is a chicken not recommend it to many people, and has a technical complexity "manual", and to follow some basic rules concerning the electricity and in some cases to physics. For the rest, the main problem is that access to high-speed cameras is limited and learn about their processes (which are no longer those of a different raw camarade HD) is a bit complicated.

Operating a Hawk with a target PhantomHD 150-450/T2.8

• EHD: We also have experience in 3D productions, something really new in Europe and still not very established here. The 3D cinema, born or rather "reborn" to restore lost public rooms do you think that this time will be successful this bet?

PT: Actually, yes, I'm in some 3D projects, and I must say that the first shooting I did in this format began in 2000. Since then, interest in him has been very high, and in recent years has run riot. We have several production lines open (Barça did tests with Mediapro, one with the Liceu Opera House , and Ovide Apuntolapospo and are currently in a project for a TV channel) and hopefully that really works, because it is a technical development that really do changing the image, being probably the most important change of image from the black and white to color

3D Broadcast a Barca game, by Mediapro

Pol 2 in stereo Red One

• EHD: The technical process in these productions is quite complex and technical how do you work in "stereo"?

PT: Well, a priori, to go with two cameras is somewhat cumbersome, the preview a little uncomfortable and above must be very careful with the technical processes. It should present a few calculations and above, the narrative is different, especially with respect to the securities outright. Overall, it's a chicken ... but well worth it. A review today when something we have done in 3D and it works, we still marvel that we can do this!

• EHD: Any story of your shooting in digital?

PT: I think the most remarkable is that in a movie we made in HD, once released, in a meeting with an outside producer for the film, which was offering me work, I swore and swearing that the film we had done in HD we actually shot on 35mm and that Sony had paid us to say that we had shot in digital. It did not teach the making of, the hundreds of photo shoot ... She even convinced.

"Any new camera is capable of that I want to try"

• EHD: Phantom, D21, RED ... Of the various formats and cameras with which you worked "with which you run and why?

PT: Each camera has a function. There is generally preferred camera. I like the color of Panasonic. I like the definition of Sony. I like the price of RED. I like the texture of ARRI ...

Ultimately, each project has a team, that's the reason why I support the rental and purchase of equipment. If it is true that I have much affection for certain cameras in particular, but maybe also I'm so accustomed to them that I can not squeeze as you would with others.

• EHD: Any camera or format that you have not yet had the opportunity and you feel like?

PT: Any new camera is capable of that I want to try it. In fact, today Sony has introduced a new HDCAM SR ... that I have really wanted!

• EHD: What other projects or technical challenges you plan to participate next?

PT: I have now spent several months in Televisió de Catalunya as image consultant. I have been monitoring and following several major technological changes to be announced shortly. Same time I'm in preproduction of a feature film shot at the Patagonia in March and another project in 3D. But you can not comment yet !!!!!

• EHD: Bridging the gap, is currently the SLR-HD film for amateur film, which was once the super 8 and 16mm? Have you ever worked with these formats or do you plan? What do you think of them?

PT: Like I said before, any camera is susceptible to at least play with it. A few months ago I bought a Lumix LX3 does HD, and to prove I made a video clip to see what was and really, to do things is curious. With the Canon 5D Made a short this summer, and well, it's a great camera with problems as inversely proportional to its depth of field. Gives a result it works exceptionally and will be discussed widely in the future. If they improve the codec and some silly problem (such as aliasing), stick VERY strong, and not only in the amateur world but also professionally.

The LX3 Pol

"The negative film should not die"

• EHD: In this scenario what is the future digital celluloid?

PT: Dividiamoslo this scenario two: Exhibition and production. I hope that show does not have a single one. The showroom photochemical massacres in our work as directors of photography and me personally that only gives me trouble. Every time I see a copy of my project on 35mm is to make me mourn. There is an excellent book called "The death of cinema" that speaks specifically to that, the visual degradation suffered by the positive be passed again and again for a projector.

Then there is production. The negative film should not die, and not dead super 8, or as the lomografia has resurfaced. Clearly for most commercial work, at some point cease to have effect (¿¿Do we need more latitude in areas of high beams and the resulting grain for a spot of diapers rolled in a controlled studio ???), but should always be available for filmic creation. Exploding high definition and a half years ago, we decided to make some masks for a program of TVE in super 16mm ... for their texture. We could have emulated? Probably ... but to emulate something that can be rolled directly?

"Make me happy image"

• EHD: Leaving aside the technical What do you like most about your profession?

PT: Too much! Teamwork is amazing, and seen from two points of view, working with management and visual creation of the project, and from the point of view of work with electrical equipment, second operator, foquistas, power etc ... orchestrating a small army is extremely tasty. But on the other hand, the creation concept. Plasmas you have someone in the head above image and to contribute your bit to that vision.

Besides, I'm movie buff of the film in the vein ... I spend my life watching movies and be able to do both admire is always a great pleasure. Finally ... the world of film ... it is addictive. When you spend time without rolling, you miss it!

• EHD: And the least?

PT: The bad environment in some filming. The dictatorship in a set, shouting, bad roll, neglect ... sometimes you find these things and that's when you do not feel like shooting, but to end as soon as possible to stop listening to the lunatic screaming beside you . If we have to do what we like because we enjoy with it ... no?

• EHD: Movies, documentaries and advertising, you've touched a little of everything but what you prefer to work and why?

PT: I like everything, and not merely as a cinematographer, but also as a colorist or operator. These months I've come into contact with the television, I rediscovered how much I liked the thrill of live out carrying a camera, or something like doing a story for news. Create image makes me happy.

The facet of Pol as a photographer and his taste for timelapse

• EHD: And finally ... static image or moving image? How do you stay?

PT: You have to choose? Look, I will focus in another way ... On the move for work, static pleasure at home.

I love the visual setting in motion, but often requires a lot of people. The photograph "fixed" only allows me to express myself, being self-sufficient, but on the other hand, I do not like the professional world of photography. I've tried it once and I have trouble understanding the concept of the responsibilities and obligations of a photographer, too ... lonely?

Pol Well, the truth is that 1000 would make you more questions, but we hope to have you for other occasions and to make all those questions that remain in the tintero.Me yours stay with the phrase "create image makes me happy, which is insurance as well as think many readers of this blog.

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