Zeferino interview with the cinematographer Rafa Lluch

Today in Zeferino Professional Lighting, we have the pleasure of interviewing the cinematographer Rafa Lluch, whom we were able to provide the best lighting in some of his projects. And we appreciate the confidence and the opportunity to make known his experience and knowledge in this interview.

How were your beginnings in cinematography?

I started working in RCR is a producer of advertising. I got without knowing anything of this world, I had never imagined when between’d end up cinematographer someday… I was doing a bit of everything, from start charging batteries and VTR with U-matic, to construction of small funds and small decorations, then I began to like the lighting and in the production they had four lights with which I started playing doing many pictures and illuminate castings or institutional tidbits.

Over time I pass to be camera assistant and I was lucky to work with the best advertising cinematographers who had then, I learned them all that with hard work.

At 11 years of being in the production and already being cinematographer on commercials, I go freelance and straining forward to the adventure, having much luck and starting to work a lot in Madrid, which opened many doors and I began flying as director of photography and luckily I have not stopped until now.

What has been your most relevant work or which have been more satisfied?

This question is very difficult, there are many jobs that are special to me, and many are not even the best visually, but if they are important, for something special, an experience, a memory, difficulty … all are special, but some they leave their mark.

Those who are more fun me that I have a difficult challenge and you end up getting it.

The good thing about my job is that one must work much preparation, study the possibilities, and follow the creative path you think is better, always with the rest of the team in the same direction.

You are never alone in a shoot, and you have to fit all departments and coordinated to get what the director wants in each sequence.

What light or projector you always carry in a shooting?

Well now I’m in love and I do not understand how it could work without before the Arri-M series are wonderful and comfortable.

I also always carry a Flexi Lite and Celeb of Kinoflo that saves me some trouble and this well in small locations.

But the lights are also a little trendy and you changing the way we work evolves depends on how the devices.

I started with the end of the arches were almost gone, and began the Fresnels HMI, then left the Arri HMI CINEPAR and change the way we work and we just wanted the new devices with interchangeable lenses. Later came the fluorescent and we had to light with fluorescent and Arri now with the M and LED light series.

But always, in the end, what matters is the intent of light and texture. How to get, it depends on the stage where you are and lights the moment.

Do you have a visual reference or director of photography has marked you?

Yes all. I have the problem that when I see a job that I have not done, I always love and I am surprised. I think there is much talent and is very easy today with so many channels broadcasting and search and viewing of audiovisual material, which is very easy to envy to many cinematographers for their work.

What advice would you give to a person who begins in the sector?

Well, I would say that now it is very easy. And if what you like do not stop working, playing or research, that will never end with the creative resources and have fun while doing it. There is no limit, that theory must know it, is very important, but that the jump. There is nothing better, nothing worse, everything is what you like and dare to express it. That same now do not go out or are not satisfied with it, but it is a way. To do to get what you want, and hopefully get to it. I’m on the road, but I like and enjoy every step I take.