This project  had a very specific aesthetics. Patricia wanted a very specific cinematography design. We talked a lot during prep of the project, she had in mind a very poetical film, with few dialogs which translates in comunicating and storytelling most of the time  on image.

I believe as cinematographer that its crucial to deliver a photographical design about how cinematography will be printed in the evolution and narrative of the film.

During the prep of this aesthetics we decided to  go for  a very slow pase movement in camera with few cuts as well as very powerfull compositions. It was important to join our charaters journey, feel the heaviness and harshness during the shot. We relyed a lot in static shots and Panther Dolly when we needed to move camera. It was very important to embrace a different narrative as story develops so we decided to go for steadycam shots when our characters arrive to their final destination in the script.

In terms of light we decided to  empower narrative by  separating our two “main” locations. The story is about a journey so we needed to photographically evolve towards the end. When we shot  exterior mountain snow locations we relied in a very cold environment shooting on Kodak Vision3 500T 7219 with an 81 EF filter + Circular Pol, so we could have this cold image but still be half way  warm to keep skin tones manageable. In terms of film process  I decided to pull down one stop in lab when shooting exteriors so we could have richer blacks, less grain and a more contrasty image. When shooting interiors, which is the last part of the story we decided to maintaining normal lab process to  differenciate texture  from exteriors and to empower characters emotions in image as they are reaching the end of the film.  When lighting interior we maintained our same Kodak Vision3 500T 7219 with 81EF filter but added a mix of warm /cold light, as we had some fire practicals on set.  In terms of equipment we used 1.8K Hmi with chimera, Kino flo´s w/cold tubes,  Kino flo´s light  w/cold+ warm tubes with half CTB for night environment and china balls  balanced at 5600 and 3200 plus full CTS to give practicals more presence.

The project is now in editing stage, hopefully soon we can post the film in this webpage.  I thank Patricia for trusting me, FAMU, Panavision and Panalux for supporting the project.  Also special thanks to my crew, you are only as good as your own team. Best!

The importance of restoration is rooted in our physiology. Human beings aren’t designed to expend energy continuously. Rather, we’re meant to pulse between spending and recovering energy. The idea is not about how long but how well, my renew matters most in terms of performance. In the beginning I used to spent un organised renewal time hours studying Film tech, philosophy, interviews, news,  watching films  and ended spending all day sitting down in front of a computer. I thought I needed to just keep on going at full throttle all the time.  Along the way I learned that productivity and performance is related and improved on how you implement time.

Inspired by Timothy Ferris and Tony Schwartz I scheduled a total of 2 hour work per day. Which includes: Mail, Clients, Accounts, Networking. Another 2 hour body work per day. Which includes meditation and exercise. And a last 2 hour mind work per day. Which includes, writing, studying cinematography, investigation, reading. For a total of 6 hour per day  organised activity that incremented my productivity by 4x.

The power of renewal is so compelling to me that not only im better prepared when I face a project, increment my productivity day by day, but I have time to do other activities that im interested on, like gastronomy or  design.

“ By managing energy more skillfully, it’s possible to get more done, in less time, more sustainably. Our secret is simple — and generally applicable. When we’re renewing, we’re truly renewing, so when we’re working, we can really work.” Tony Schwartz – New York Times

You can watch it on HD vimeo.

I recently finished shooting the film “Tetushki”  produced by  Forma Pro Films  filmed  in Riga, Latvia.  It was an amazing experience, it always is when shooting a film. I  will like to share the adventure of prepping the project, in general terms  how we approached a  15 days shooting schedule  and how we managed to solve some challenges throughout the completion of the film. Let´s face it now days everyone wants something good, fast and cheap and as cinematographer you must be flexible  and creative about how to face the challenge.

One of the first decisions I  made when  starting pre production  and visual design  is which camera/lenses  we are shooting on. This will determine not only the look of the film but  how fast you can be in every other aspect in cinematography and how fast the shooting will go in general terms.  Also will determine how many crew, light and equipment you need for filming.  The challenge was to shoot a 90 min comedy  film in 15 days with sometimes 10+ actors playing on set, and almost 6 days of shooting ( Day/Night sec.) in -20c temperature exteriors.

Having two cameras on set limits the image in terms of  beauty for the film,  you have to lit  two fields of view and  sometimes they tend to flatten each other. But for this story it was more important to  embrace  more possibilities. Shooting  two or more actors at the same time capturing performance every second,  having more angles for dynamics in editing and help  sculpting the story with more possibilities  was the way to go. Mainly because of the number of actors playing in scene at the same time, and the amount of script pages we needed to shoot each day.

My camera choice for this project was the Canon C300, as I  needed a camera that could help me with some important aspects we needed to address:

- Instant backup.  A camera that could give me instant backup of media on board  because of low temperatures possible failure.  For the project was very important to secure media at all times, its my responsibility  if anything was to happen.

-Low light capabilities for budget and speed. This is paramount, a camera that could make me and my team work faster with smaller lights and  help me tighten the overall budget.

- Best Hi Def out there. I like to be faithful to the story Im shooting, and there was no reason not to give this story and excellent, clean and gentle quality. Viewers must focus on the performances and script, its a comedy. For me, giving the best quality for this project was crucial.

-Light weight. This is very important as i wanted to be fast, each operator took care of their camera without any problem, they could manage to prep themselves.

-Easy media. As you know backup drives could be really expensive when shooting a film. I helped production budget by  narrowing the amount  of data that was needed to be managed, keeping it compact, cheap and simple. While retaining excellent quality.

-Creative purposes. I love the possibility of modifying shutter angle, crank up the ISO, print different WB on camera and make some crazy personal effects to empower narrative and drive the story.

Overall I think this is the best budget vs. quality camera out there. I was really amazed by how it performed  and how it helped me as cinematographer   to never say “no we can’t”.  Its about getting the story and performance so its important to have  tools that help you out, not restrain you for getting the shot.

I talk in terms of my humble experience. I just finished my second film and in both projects  operators pulled focus for themselves. I will like to add before I expose my believe that sometimes you need a focus puller, not all the shots can be made by one man band, but most of them can and give you a tremendous power over the narrative.

I deeply believe in collaboration and team work, that is what cinema is all about.  Its about a group of people that live one of their most intense experiences in their lives while they project  what is going to be the film  they are doing. That been said, I’m deeply grateful for my camera assistants  as I  operate  my films and could not do my work without them.

Film narrative a is quite complex, but one of the most important parts of it is the relationship between camera and actors. I believe that in the end everything relays in what camera and actors can give while finding the film.  I also believe that light, besides giving mood, narrative, progression and feeling  has to serve camera and actors alike. I tend to give the actors and camera the most freedom possible, so they can explore and actually find the movie the whole team is  doing. Its kind of a very high quality  fiction documentary shooting if you look it this way. As you search for the actors, and empower them with freedom so you don´t know what is going to happen, you are following and feeling their actions, finding them in the film.

Its very complex for a focus puller to “guess” in this situation (even though there are master focus pullers Ive work with and they didn’t missed ANY shot), there are no focus marks, as you might get closer, get farther, turn around go up and down, or follow the action. That must be felt, and as you read the actor and their movements most of the time you know if you are going to get closer, farther, or they are about to move. You can train your fingers to automatically follow this reactions and be in focus all the time.  It might sound more complex, or maybe crazier, but it just gives you the advantage of going ahead of what is happening and decide with freedom, even if each take actors move a different way.  There are no ” please marks for focus”, or you tell the actor to ” go here, and then there”, they can just act, and if they feel like  change acting, they can do it without loosing that take.

In the last film my second camera operator Paco Serrano which is the best camera operator I know,  we missed about 3 or 4 takes in focus pulling by ourselves in the whole shooting. And almost all of them were in a sequence where we were shooting at 2.0 Iris with a 35mm. I know it can be done, with less people moving around during  a shot, with more freedom, with more intuition and what is most important following the action regardless what is happening in front of you.

Some days ago they released this last trailer, I think its an amazing job. They are empowering people that believed in them  since the beginning, to change the way cinema is made.

Meeting with the client was amazing, Bettina Vega is very talented and knew what she wanted in a very specific way.  Bettina needed something with strength, elegance, subtle, and simple.  We came up with this image which had excellent feedback, even from Vogue Italy.

When I have most fun is when we don’t really have everything thought out, when there is a chance that  together  ( the whole team )  we might find different places, sequences and narrative by chance.  Its kinda tricky for production team and sometimes for first AD, but when you have good  talented actors, good team and positive energy sometimes you find things and places, ambiences that otherwise you could not find in an ordinary scheduled shooting.

For me the best fiction projects are the ones that doesn’t have any storyboard,  I think storyboards in narrative projects actually blind yourself for what you are about to find in the space  with the actors, when you arrive to that place, at that time, at that mood, not behind the desk away from the real action, your real movie.

Some months ago I was called to shoot a script presentation for a pre production stage Film called “Moonlight Drifters”. A Spanish production with English / Swidish actors, actually i was lucky enough to work with Thomas Hanzon which by the way has worked with Ingmar Bergman.

The project approach was very interesting, Director Patricia Venti  really wanted to pull out  the story out of the characters, to have a narrative freedom with some guidelines in the script.   She described the work as a kind  of a documentary shooting but with film quality.

For me as a DOP its a perfect challenge to not only make the shooting work in terms of image narrative and structure. But to find the right mood for what the characters were doing in an improvised space.

Embracing the project  with a very low budget, fast pace shooting almost improvised was kind of tricky. Fast lenses and high sensitivity is crucial, we used Zeiss paired with 5Dmark III. In light approach we used mainly Bi color LED 30X30 mostly hand held battery powered.  In some interiors we had  some 1k tungstens and 4X4 Bank Kino flo.

After 3 days of powered energy shooting we end up with this project presentation which Director and Producer really loved.

This Spot was produced by Riot Cinema Collective,  shot  in Madrid, London, Tokyo and Buenos Aires Argentina.

This project was approached differently. Minube wanted the app to be really present in the frame, so we decided to change things a bit and separate the app  from the background physically. Making it pop out in the frame but still merge good in the image.

We decided to shoot locations first, all the background and the camera movements. Later we shot all the hands with the iphones on set, to be merged in post later on.

In terms of shooting in location we were really time pressured, so we decided to light with 30X30 Bi Color Hi LED Light panels,  with 1/4 diffused 1x1mts frames. So we could lit the characters and backgrounds  without the need of cables nor electrical plugs. Heatless,small and light weight, Light panels gave us a lot of freedom in terms of speed, space, and efficiency.

Particularly in this spot i was kind of worried because we were using some Gopro footage to shoot some backgrounds, To my surprise it turned out really nice, and merged ok with the rest of the footage.

Minube was delighted with results, and have received a lot of positive tweets about the video and the App. That´s what makes us happy!

Xs cinestudio worked with Videorinth to create one of the most underground series ever shot in Spain.

The Third Place works in a modular editing narrative, that can recall Pulp Fiction or Mulholland Drive. The story submerge  in  different cinema genres: Thiller, Terror and drama. Combining narrative and stetics thanks to Collar´s experience in video art and experimental cinema.

Half way between Twin Peaks narrative and 2046 stetics, The Third Place explores diferent atomospheres that touch Cine noir and works at the same time with colors that could remember movies directed by Zhang Yimou, Wong Kar Wai or Tarsem Singh.

First Season is composed by 8 episodes of 15 min each

More info about Collar´s work:

Alvaro Collar ( Madrid 1981) Studied audiovisual communication at Complutense University in Madrid, and Cinema  at Film School in Brighton. Collar has spent most of his career linked to the world of video art. He created pieces like Myriad 2011 ( Besto short film at the sevond edition of Movilfest), Cntrifuge 2007 ( Best original idea on i call Movilfilmfest) and  Fifth room 2005 ( which represented spain in the WMMC in 2009 in Poland and in 2006 in South Korea.

As you know the importance of reaching as close as possible to the final aesthetics is crucial with this cameras, and as an emerging cinematographer that is the best thing that can happen to you, ( in my opinion) to push you further and deliver in camera the best possible result. This  gives you the advantage to  color grade and enhance aesthetics,  not fixing problems.

This project  was shot on my  1D mark IV, which by the way I sold yesterday, yes im buying a 5D mark III, but thats worth another post for explanation.   The 1D mark IV is an excellent  camera that responds great to low light situations, ( I love to work with low light, for me it  just gives me more control with light). But its heavily compressed output video is something to be careful about.

Forma Pro Film Company in Latvia called and asked me to shoot a sample film for presenting producers  and search for financial approval for a film.   In this project I got hired  as a Production Designer as well as a Cinematographer.  Its kind of funny but this experience taught me  to do better my job,  as a Cinematographer   its crucial to really  open wider and work the  production design in a project. Here in Europe is not common to have that specific figure on a project, so  you just have to do it, you have to design everything that reflects light and comes into your lens and shoot it right. For you to get as close as possible of what you imagined in your head.

Below you can find some stills before and after color grading.  We edited in FCPX which by the way  i like a lot,  ( It just works great and fast). And color graded on Da Vinci Resolve. One thing I like about this mixture is that you can work directly with the h264 codec of camera, without any compressions, so you edit on FCPX,  send XML to  Da Vinci Resolve. Do color grading, and then go back to FCPX for Subtitles or any aditional work without loosing a generation in every export.

Director Valery Savonof was very happy with results, I think the whole crew did an amazing job, and working with Forma Pro Films is always a pleasure, great work, fun and talented people.

We shot the spot on studio, working with 6 2k tungsten  diffused by a 6x6mts frame hanged from the studio ceiling. I wanted a very soft light to lit the objects we were ment to photograph. Sometimes I used some extra power from a 4bank kino flo  to fill or to give some direction to light depending on the frame. My gaffer Adan Martin made an excellent job building the whole thing and making it work.  On some shots  we needed  the lights to interact  with some  camera movements, travelling action  that discovered lines, shapes and design.

Directed by Bruno Teixidor and Produced by Carola Rodriguez, this spot definitely is one of our best work while working together.

Joyn makes everyday mobile to mobile communications more engaging, brings you closer to the people in your mobile address book by combining all the ways you want to be in touch – talk, chat, share videos, photos and files.  Joyn is mobile phone and network aware which means it automatically ‘knows and shows’ the ways you can share with any of your contacts – via chat, video, call or files – at any moment in time.

The spot was directed by Bruno Teixidor and produced by Carola Rodriguez.  Two days shooting, working fast and accomplishing clients product perception Joyn is a great spot for a great product.

You can check the clients web here. By the way its incredible design  was made by Vostok Studio.

Floresfrescas.com from Floresfrescas.com on Vimeo.

More than taking it as a shoot, the team enjoyed a great evening  on a sunny sunday near madrid.  I will like to thank all the Team, starting with Riot, which helped us with the production, our great actors Deborah Guerrero and Juanma Mallen,  our voice off  Steve Galache which also performed a great job as an  actor  in “The Cosmonaut” and  Vostok studio for supporting the project.

We had  a small crew approach,  produced by Carola Rodriguez and shot by Creative Bruno Teixidor and I. Arquinauta was delighted with results. One more win for the team.

By the way, ABCKit won the Laus 2012 price  for its outstanding design. Congratulations!

A SCI-FI feature film about a soviet cosmonaut lost in Space (and Earth), produced by lots of people (like you) starting from 2€. It’s Creative Commons-licensed so that you can edit, copy remix and share it as you wish. Free.

This Videoclip was shot for Russian Singer Svetlana Surganova, in Latvia. Bruno had this idea where he wanted the background to change while Svetlana wondered in an abandoned house. The shoot took one day  inside an empty house, we filtered all windows and lit the place with 2  4Bank kino flo and one  1k HMI with Chimera window. The shooting turn out really quick and simple, having in the camera department  Operator/Steadycam Paco Serrano and  Gaffer Denis from Formapro Films helped to work faster and efficient.

XS Studio serviced camera rental for the videoclip, Cinematography and Color grading.

Trabajar con el equipo de  Formapro Films (http://formaprofilm.com) siempre es una excelente experiencia. Si a esto  sumamos el talento del director Bruno Teixidor ( Riot Cinema Collective) (http://www.riotcinema.com/)  los buenos resultados están asegurados.

Este videoclip se rodó para  la artista Rusa Svetlana Surganova en Latvia. Bruno tenia esta idea en donde  los fondos cambiaban mientras la cantante recorría una casa vacía.  El rodaje duro un día dentro de la casa, se filtraron todas las ventanas  e iluminamos con 2 kinos de 4 tubos 1,20 y un 1k HMI con Chimera. El rodaje fue rápido y sencillo, teniendo en el departamento de cámara como Operador/Steadycam Paco Serrano y al Gaffer Denis del equipo de Formapro Films ayudo a que las cosas fueran rápidas y eficientes.

XS Studio hizo el service de alquiler de cámara, dirección de fotografía y etalonaje.

While maintaining a low-budget and a great creativity we manage to deliver excellent quality. It was meant for broadcast distribution, in the end the clients were so happy it ended up in cinema projections in USA.

The spot was shot in the beautiful city of Riga which by the way is a UNESCO world heritage site.  Director Stas Tokalovs contacted me  and told me about his idea, I found it great, flew over there immediately for pre production and scouting. We shot for one day, edited  and color correct in 2 days = everything sweet, well done, and fast.

XS studio serviced camera rentals, cinematography, editing and color correction. Reducing costs to the client while maintaining excellence in quality.

Trabajar con el equipo de Formapro Films  (http://formaprofilm.com)  durante la película “El Cosmonauta” ha sido una de  mis mejores experiencias laborales.

 Este spot tenia un guión estupendo, un director talentoso y un equipo de producción muy efectivo detrás.

Se rodó en la ciudad de Riga, que como curiosidad es patrimonio de la UNESCO. El director Stas Tokalovs  me contó su ideay  me pareció genial. Al poco tiempo me encontraba ya haciendo el scouting y  pre producción en Letonia. El rodaje duro un día, se edito y etalono en 2 días, todo fue sencillo, rápido y bien hecho.

El  spot inicialmente estaba destinado a TV,  el cliente estaba tan satisfecho con los resultados que ha sido distribuido incluso en cines en EUA.

XS Studio hizo el service de alquiler de cámara, dirección de fotografía, edición y etalonaje. De esta  manera al cubrir gran parte de la producción,  los costes se mantuvieron bajos mientras manteníamos excelencia en calidad.

Nuestra nueva Reel,  esta edición contiene algunas imágenes autorizadas de la película “El Cosmonauta” así como algunos otros proyectos en los que estuvimos trabajando este año. Re-editaremos una nueva versión dentro de muy poco. 

Also on October we will launch our new Spot Reel. Where we show our best work in Broadcast & Web Commercials.

The intro was amazing, we worked with Dragon stop motion program to conform all the photographs we took of the paper figures. The intro was shot on Canon 1d mark 4  and Zeiss glass.

XS Studio serviced camera rental, cinematography and color correction.

En XS Studio tuvimos el placer de volver a trabajar con el equipo de Riot Cinema Collective ( http://www.riotcinema.com/) en Madrid.  Trabajamos en la nueva intro de CAMEO. Utilizamos el programa Dragon Stopmotion para conformar todas las fotografías y estudiar la evolución de las figuras de papel.  Se rodó con ópticas Zeiss y Canon ID Mark4.

XS Studio hizo el service de alquiler de cámara, dirección de fotografía y etalonaje.

Working with Director Nicolas Alcala was amazing, always pushing forward in search for the best possible image to tell the story he wrote. We decided for the movie to have a very naturalistic approach relying mostly on soft light  lightning and what Nicolas called “pools” or  ”zones” of light.

For me in terms of light less is always more, so we worked a lot with natural light,  reinforcing the actors or the spots we wanted to mark within the action.

The cosmonaut shooting served for me as one of the most enriched experiences in my life. And I thank with all my heart all the camera and grip department for their impecable job, and will like  to express my gratitude to all the cosmonaut team  and the people that were involved in the project for this marvelous experience.

Estoy muy agradecido de participar en un proyecto tan hermoso, y retratar en  imágenes  un guión tan bueno.

Trabajar con el Director de cine Nicolas Alcala ha sido una de las experiencias mas importantes de mi vida. Como persona es excelente y como profesional  es muy talentoso y exigente. Siempre lograba sacar algo mas de mi, algo imprevisto, colocarme en un punto incomodo que al final llevaba a resultados sorprendentes.  Decidimos darle a la película una aproximación naturalista, con una evolución narrativa  que nos guiara al estado anímico de los personajes principales. Para mi menos es mas, trabajamos mucho con luz natural reforzando personajes y puntos de atención narrativa dentro de la acción.

La película “El Cosmonauta” me ha enriquecido muchísimo como persona y  como profesional. Agradezco muchísimo a mi equipo de cámara y luces que demostraron un talento y una  capacidad resolutiva impresionante. También me gustaría hacer mención a todo el equipo involucrado en este proyecto y agradecerles la experiencia.

Our great producer Alexander Konovalov, (which is in fact in the production team of the film “The Cosmonaut”)  prepared every detail  so we could have a smooth, creative, productive shooting.

XS Studio serviced camera rentals, cinematography and color grading.

Este proyecto es el ultimo antes de embarcarnos en el proyecto cinematográfico “El Cosmonauta”.  Es un videoclip que se rodó para los artistas Rusos Arsenie Todiras y Lena Knyazeva en Mikonos, Grecia. Las localizaciones eran impactantes,  tuvimos una aproximación muy sencilla, trabajando con litepanels y reflectores, dejando mucha libertad a los artistas. En lo personal me gusta mucho trabajar con Litepanels porque pueden funcionar a baterías, y es una ventaja tremenda en exteriores o tomas  en steadycam. También es fácil de mover, manipular y sostener, incluso en situaciones con viento fuerte.  El Videoclip se rodó con ópticas Zeiss / Canon 1D Mark IV  y como cámara ”B” Canon 5D Mark II

Cabe mencionar que trabajar con Alexander Konovalov en producción hizo que el rodaje fuera suave, productivo y efectivo dando cabida a tiempo de creatividad, incrementando la calidad del video.

XS Studio hizo el service de alquiler de cámara, dirección de fotografía y etalonaje.

This video explains the concept and the product the guys at Vostok (vostokstudio.com) created.

XS Studio serviced camera rental, Cinematography, Editing, Color Correction.

Hemos trabajado con el equipo de Riot Cinema Collective (riotcinema.com) para crear una experiencia visual de lo que serian los servicios de  Video on Demand y TV de Movistar.

Este video explica el concepto y el producto diseñado por el equipo de  Vostok (vostokstudio.com) 

XS Studio hizo el service de alquiler de cámara, dirección de fotografía, edición y etalonaje.

Movistar Video as imagined by Vostok [ENG] from Vostok Studio on Vimeo.

XS Studio supported  a shortfilm directed by Diego Amaya in Madrid.  It was a great experience,  a very naturalistic approach in terms of  light. The whole crew did an amazing job.   It was a real pleasure, great story.

XS Studio serviced camera rentals, cinematography, color grading.

XS Studio apoyo el proyecto de cortometraje   dirigido por Diego Amaya en Madrid.  Fue una experiencia increíble, una aproximación fotográfica y narrativa muy naturalista. El equipo hizo un excelente trabajo, para el estudio fue un placer, excelente historia.

XS Studio hizo el service de alquiler de cámara, dirección de fotografía, etalonaje.

What I liked the most is that the  story is told without dialogs, mixing  theatrical stages, characters and acting in a very cinematographic way.  The characters evolution throughout the story is reenforced with lighting, colors, optical perspective and camera moves.  Definitely a very good, interesting challenge for all the team.   I thank  Adan Martin and Miguel Angel Rey for supporting this project.

XS Studio apoyo  el  proyecto de  cortometraje Polichinela dirigido por Andrés Baquero en Madrid.

Lo que mas nos atrajo del proyecto y de la historia es que se narra de una manera puramente visual, sin diálogos. Mezclando  un escenario y estética teatral con una  narrativa muy cinematográfica. La evolución de los personajes se refuerza con la luz, los colores, las perspectivas de óptica y movimientos de cámara. Definitivamente un reto muy interesante para todo el equipo.  Agradezco a Adan Martin y a Miguel Rey por  apoyar el proyecto.

It was an  excellent exercise to improve the way you “attack” spaces and play with available light.  Always searching for the best possible image with minimum resources.

I have to say that sometimes you “wish you had”  but that just keeps you more aware of what you “really need” and keeping it simple.

El pasado Febrero rodamos un proyecto con  estudiantes en la ciudad de Madrid. XS Studio apoyo el proyecto reduciendo los costes de producción  con equipo de cámara y ópticas Zeiss. Fue un rodaje de guerrilla, sin scouting, improvisando, “bloqueando” la escena en el momento y tratando de sacar lo mejor de cada nueva  localización.

Fue un ejercicio estupendo para mejorar la manera de “atacar” los espacios y jugar con la luz disponible, filtrando y rebotando.  Siempre buscando la mejor narrativa/ imagen  con recursos mínimos. 

Este tipo de ejercicios te ayudan a ser mas eficiente y entender lo que realmente necesitas sin perderte en ir mas aya que lo necesario sin sacrificar la calidad, estética o narrativa.

XS Studio Produced a total of 9 videos for the park.  3 Promotional teasers ( spots), 4 Visuals and 2 Corporate videos.

XS Studio recientemente tuvo el honor de trabajar para el parque Biouniverzoo, un parque ecológico encontrado en el Caribe, al sur de Cancun México.

XS Studio Produjo un total de 9 videos para el parque. 3 Videos promocionales ( spots), 4 Visuales y 2 Videos corporativos.

(Spot)

(Visuals)

( Visuals)

In this project XS Studio serviced the whole production line, camera rentals, directing, shooting/cinematography, sound, editing and color grading.

Este proyecto fue producido enteramente por XS Studio, alquileres, dirección, fotografía, sonido, edición y etalonaje.