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Rodrigo Prieto Podcasts

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10 of The Best Podcast Episodes for Rodrigo Prieto. A collection of podcasts episodes with or about Rodrigo Prieto, often where they are interviewed.

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10 of The Best Podcast Episodes for Rodrigo Prieto. A collection of podcasts episodes with or about Rodrigo Prieto, often where they are interviewed.

Updated daily with the latest episodes

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Rodrigo Prieto, ASC on The Glorias, Frida, working with Julie Taymor, Martin Scorsese, Alejandro González Iñárritu

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When Rodrigo Prieto meets with a director, he comes with a clean slate and a present state of mind to hear their vision. Rodrigo first met Julie Taymor in New York to talk about filming Frida. He had just finished shooting Amores Perros with director Alejandro González Iñárritu and decided to move to Los Angeles from Mexico City. For Rodrigo, Frida Kahlo's work was very influential, and he was eager to work on a film about her life. He found that Julie Taymor loves collaborating with her team on her movies and is open to other's input, but knows what she wants and pushes for it. Working with a theatrical director means her ideas tend to be more representative and symbolic, rather than the naturalistic realism seen in most movies. For The Glorias, Rodrigo and Julie had to determine how realistically they wanted to portray some of the events in Gloria Steinem's life. In one scene, Rodrigo and the crew had to recreate the tornado from The Wizard of Oz, with the four Glorias as the witches on brooms. The crew built a 70's era TV studio, rigged lights and a green screen with a camera on a crane and the actresses on wires on brooms. They also decided early on to shoot the bus scenes in black and white, with color sequences showing outside the windows.

You can watch The Glorias streaming on Amazon Prime.

A new color timed version of Amores Perros will be coming out from Criterion Collection.

Find Rodrigo Prieto, Instagram: @rpstam

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep94/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz
Oct 06 2020 · 1hr 7mins
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Rodrigo Garcia & Rodrigo Prieto, in Spanish

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These two friends discuss their career paths as they migrated to the US and how this move affected both their careers and their family life. It's an intimate conversation in Spanish about risks, goals, and perseverance.

Sep 28 2020 · 1hr 28mins

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Xavier Grobet, ASC on HBO’s Watchmen, going to film school with Mexican filmmakers Rodrigo Prieto and Alfonso Cuarón, early experience on films Total Recall, Revenge, Before Night Falls

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The Cinematography Podcast Episode 80: Xavier Grobet

Mexican-born DP Xavier Grobet grew up surrounded by visual images. His mother was a professional photographer, and from an early age, Xavier made his own Super 8 movies every summer with his cousins and family members. He started out going to architecture school, but soon decided his passion was film. Xavier's generation of fellow Mexican filmmakers, “Chivo” Emmanuel Lubezki, Rodrigo Prieto, and Alfonso Cuarón were also attending film school at one of the two main colleges in Mexico City. One of Xavier's early experiences was operating the third camera on a French film, Les Pyramides Bleues, with Alfonso Cuarón as the assistant director. Many American productions were shooting in Mexico at the time, so Xavier was able to work on huge movies like Tony Scott's Revenge and Total Recall starring Arnold Schwarzenegger. Once he moved to America, it took awhile to get established again, but he got a big break shooting the Julian Schnabel film Before Night Falls and the series Deadwood. Xavier Grobet's most recent work has been on HBO's phenomenal series Watchmen, on episodes three, five, and seven. Going into the world of Watchmen proved to be a huge challenge, because each episode works as its own separate piece, but required a familiarity with the script for the entire series to ensure the consistency and look of the story. He always found ways to shoot from different angles, and used blue lighting selectively to suggest and reveal Dr. Manhattan. It was daunting working within the framework of the show's look and following its guidelines, but Xavier embraced it and made it his.

See Watchmen on HBO: https://www.hbo.com/watchmen

Find Xavier Grobet: http://xmexdp.com/ Instagram: @xmexdp

Find out even more about this episode, with extensive show notes and links: http://camnoir.com/ep80/

Sponsored by Hot Rod Cameras www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz
Jun 25 2020 · 1hr 11mins
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Bonus Episode - Rodrigo Prieto

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Rodrigo Prieto is the Oscar-nominated cinematographer behind films such as “25th Hour,” “Brokeback Mountain” and “Argo.” In recent years he has worked with filmmaker Martin Scorsese on projects like “The Wolf of Wall Street” and “Silence.” This year they have “The Irishman,” which, on a technical level, was an absolute beast to tackle. On this episode of “The Call Sheet” you’ll learn about the R&D that went into developing a proprietary camera rig to allow visual effects artists to “de-age” the film’s stars to play through a series of decades. Prieto also discusses his game plan for visually representing the three distinct time periods of this mammoth 3-and-a-half hour opus.

Jan 27 2020 · 47mins

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Cinematographer Rodrigo Prieto, ASC, AMC, Gives The Irishman His All

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For its critical success, awards buzz, and technical breakthroughs revolving around the unique use of brand-new digital de-aging techniques on lead actors for extended sequences, it might be easy to forget Martin Scorsese’s new Netflix financed-and-streamed gangster epic The Irishman is largely a classically shot film. At least that’s the point of view of the film’s cinematographer, Rodrigo Prieto, ASC, AMC, who, at press time, was nominated for an ASC award and in consideration for his third Oscar nomination for his effort on the project.

During his recent conversation with StudioDaily for the Podcasts from the Front Lines series, Prieto emphasized that the movie is first and foremost a study of the lead character, Frank Sheeran, a mob hitman played by Robert De Niro, and that it is themed around “memory, time, and the point of view of this particular person.”

“We tried hard to find a way to make the movie subjective about Frank Sheeran, and also make the audience have that feeling of the passage of time and of our own memories and lives,” Prieto explains. “That is what we all look for as an audience when we are seeing a movie or any piece of art, for that matter: we are trying to see ourselves, and find out how our soul is in any way connected to that piece of art. So the first challenge was to portray time, and [the second challenge] was the de-aging and visual effects part of it.”

The need to emphasize the personal nature of the story required, in Prieto’s view, a classic shooting style, which is why he emphasizes his frequent use of a static or near-static camera for most scenes involving Sheeran. After all, the film is based on Sheeran’s memoir, I Heard You Paint Houses, which may or may not tell a true story about the fate of legendary union leader Jimmy Hoffa. Thus, this is intimately Sheeran’s story. In it, he is the link between the Mafia and Hoffa (played by Al Pacino), and eventually, the person charged with deciding Hoffa’s fate.

In his conversation with Studio, Prieto, however, doesn’t ignore the second challenge, which included an intimately close collaboration with Industrial Light & Magic to design a so-called “three-headed monster” camera rig. That methodology permitted Prieto to simultaneously capture performance imagery and data that allowed ILM to build state-of-the-art infrared maps of the faces of De Niro, Pacino, and co-star Joe Pesci. ILM’s techniques allowed them to appear both younger and older for different time periods during the piece. For that work, the cinematographer helped design the camera rig holding a Red Helium 8K digital camera and two Alexa Minis that was used to film the de-aging sequences. That approach was required for approximately 50 percent of the film. For the rest of the movie, Prieto shot on 35mm film negative using Cooke Panchro Classic lenses for both digital and film cameras.

But that just scratches the surface. The project also required him to design both Kodachrome (for the 1950s) and Ektachrome (for the 1960s) look-up tables (LUTs) for those key time periods, as well as an ENR style LUT for the end of the movie. Those efforts were aided by both colorist Matt Tomlinson at the Harbor Picture Company, where the film’s complicated digital intermediate effort was wrangled, and Philippe Panzini, software research and design chief at Codex in London.

All these challenges, and more, combined together made the experience essentially “a final exam for me, about everything that I learned in my career — how to apply everything, all my experience,” according to Prieto.

To hear his first-person account of the effort, watch the video above or download the audio version.

Look for a new episode of Podcasts from the Front Lines every month at StudioDaily.com. Visit our archive of past episodes for more stories from the trenches of modern movie-making.

The post Cinematographer Rodrigo Prieto, ASC, AMC, Gives The Irishman His All appeared first on Studio Daily.

Jan 10 2020 · 46mins
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Rodrigo Prieto, el Loco Abreu mexicano

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Rodrigo Prieto, el Loco Abreu mexicano

Jan 06 2020 · 2mins
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Rodrigo Prieto

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Rodrigo Prieto is the Oscar-nominated cinematographer behind films such as “25th Hour,” “Brokeback Mountain” and “Argo.” In recent years he has worked with filmmaker Martin Scorsese on projects like “The Wolf of Wall Street” and “Silence.” This year they have “The Irishman,” which, on a technical level, was an absolute beast to tackle.

On this episode of “The Call Sheet” you’ll learn about the R&D that went into developing a proprietary camera rig to allow visual effects artists to “de-age” the film’s stars to play through a series of decades. Prieto also discusses his game plan for visually representing the three distinct time periods of this mammoth 3-and-a-half hour opus.
Dec 31 2019 · 46mins
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Rodrigo Prieto, ASC: Oscar-nominated cinematographer for Silence and Brokeback Mountain, talks Martin Scorsese, The Irishman, The Wolf of Wall Street, Amores Perros, Argo and more

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Rodrigo Prieto has shot many different movies with numerous looks and feelings. The Irishman is Rodrigo's third collaboration with Martin Scorsese, who has always been a huge inspiration for him, and it was also an amazing experience working with such skilled actors on the film.
Nov 26 2019 · 57mins
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#248 - NYFF57 Day 3: Cinematography Now with Rodrigo Prieto, Ashley Connor & Chris Teague

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On Day 3 of our New York Film Festival daily podcast, we're exploring the craft of cinematography. In the introduction Eugene Hernandez, FLC Deputy Director and Co-Publisher of Film Comment, is joined by programmer Dan Sullivan to discuss NYFF's Retrospective selections this year, dedicated to the American Society of Cinematographers's centennial. We pay tribute to the society with a selection of historically significant and brilliantly photographed films shot by some of its most notable members past and present. Sullivan and Hernandez also dive into the Revivals lineup, featuring brand-new restorations of rarities and classics. 

Then, we feature our first NYFF Live talk: Cinematography Now. In this show-and-tell session, some of the greatest working cinematographers discussed their craft, offering an insider’s view of the field today. The special guests are Rodrigo Prieto, whose credits include Martin Scorsese’s The Irishman, Silence, and The Wolf of Wall Street, as well as Brokeback Mountain and Amores Perros; Ashley Connor, one of the best emerging cinematographers, whose films include Josephine Decker’s Madeline’s Madeline, Thou Wast Mild and Lovely, and Butter on the Latch, and Sundance-winner The Miseducation of Cameron Post; and Chris Teague, whose work includes the TV series Russian Doll, GLOW, and Broad City, and the independent films The Mend and Obvious Child. Moderated by David Schwartz, former Chief Curator, Museum of the Moving Image.

The 57th NYFF continues through October 13! See all available tickets at filmlinc.org/nyff

This podcast is brought to you by Film at Lincoln Center.
Sep 29 2019 · 1hr 26mins
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Shot for Shot with Rodrigo Prieto

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In this week's episode of Shot for Shot, Perry and Geoff talk about the perfect shots within Martin Scorsese's Silence. Then Geoff sits down to speak with DP Rodrigo Prieto about Silence, working in multiple genres, and honing his craft.

View this week's Shots in the companion post: http://buff.ly/2o3PRpi

Be sure to follow us on Twitter (@OnePerfectPod) and Facebook (facebook.com/oneperfectshot). Subscribe in iTunes, Stitcher, on TuneIn, or wherever you get your podcasts. You can also follow hosts H. Perry Horton (@hperryhorton) and Geoff Todd (@TheGeoffTodd). We'd very much appreciate your feedback, as well. Leave us a review on iTunes or email us: pod@filmschoolrejects.com.

Thanks for listening!
Apr 05 2017 · 32mins