Zeferino Professional Lighting today we have the pleasure to interview Pol Orpinell cinematographer, graduated in Escac and elected talent at the Berlinale Talent Campus in Berlin. We appreciate the confidence and the opportunity to make known his experience and knowledge in this interview And we recommend you follow his Instagram!!
- How were your beginnings in cinematography?
For my beginnings in the direction of photography, I think they began to have a photographer father who had his grandfather also photographer, living with a photographic laboratory and visit to exhibitions photo from child… My parents were really fans of travel and my father were doing always slides, which we saw them after by the projector at home, etc. And the logic of framing, light, optical, projection, was going well in my small …. I also remember when I was child, seeing with my parents specials TV shows of Hitchcock on sundays afternoon in national television and I was fascinated, we went to the cinema too… So I guess the mix a little of everything made me end up dedicating myself to what I do. In high school I was studying alongside black-and-white and revealing in my father’s laboratory. And to that I was able to get into the ESCAC after high school I got, was the logical continuation of everything that was growing.
- What has been your most relevant work or which have been more satisfied?
Well, I’m happy with different jobs for various reasons, but I think there is none think I’m 100% satisfied. Always for one reason or another I feel can be improved …
Ahah…
At the time I enjoy so much doing “Danse la Danse” documentary of Nacho Duato in Moscow, especially meant for the challenge and the creativity and originality we bring both the director Alain Deymier like me. Some chapters of the series “Signs of the Times” to film in Mexico for Channel 11 for me are real wonders, by the locations, natural light, the characters and the experience was live those runnings …
A more Commercial level was pleased with the piece that we shot with Audikana for Stow & Son, we had a lot of creative freedom and time, which shows in the result, It is very artistic and beautiful piece. Now I just rolled a piece for Braun in black and white with Manuel Portillo, who I believe it will be very good, we could play the exposure limit with black and white.
- What light or projector you always carry a movie?
Well I would say that the most important for me is a the Porex or a reflector, which will involve locating well and choose the right time, and then with a little padding’d already … Although much depends on the shooting.
The M18 today will save in many situations, sometimes because you can plug in a house without generators and the “M” system puts a lot chestnut light, which we are interested … I’m also a big fan of Celeb with battery have its dimmer and temperature drive built-in color, so they are very fast and practical …
- Do you have a visual reference or director of photography has marked you?
I’m a big fan of still photography film as a work tool, always look at many photographs or paintings, the interpretation still photography or painting of natural light in countless situations is always a good start to begin working references … And see that moves us inside that calls us and no … There are many cinematographers who I admire, Chris Doyle in the beginning with Wong Kar Wai I went crazy, the work of Jean Yves Escoffier in Gummo always have it very present, the great Robby Müller in Paris Texas or Dead Man…
And more contemporary blew my mind the work of Sturla Brandth Grøvlen in Victoria, one pass … I still much to Robbie Ryan from Fish Tank and especially by Catch me Daddy, I love how you can be so Preciosita on par with oil and natural … And I finally too much like Adam Arkapaw for his latest work in Macbeth and True Detective series …
- What advice would you give to a person who begins in the sector?
Above all follow your instinct to shoot very much. This is a trade practice, one refines his style, with lots of practice, but also hear oneself, which will only your work will be your filter, so it is important to have a healthy “filter” and worked. The technique is very important, but so is why, if there is no balance between the two, the end will be poor …
One must understand that is a distance race, at work level, we should not overemphasize, have the will and not despair when things do not go as you want. It is sooo long career that never ends and always learn. Patience and work. Oh, and Above all the best director of photography is a director of photography happy, so do not obsess to be lived.
- If you could ask for a spotlight, what features would have asked it?
Well look, made me dream love a projector that was not light led, because the truth is not I love, I feel it is a type of light texture without much “force” “cold” and everything tends toward it by an economic issue and low consumption …
I would like a spotlight with the warmth of filament bulbs for example, or the softness of the softlight … They would have to fabricate devices in which valued much more quality and texture of light, because where we go I think they look other things…
https://vimeo.com/111719427