4LF0NS0:P4RR4

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	title carlos contra el mundo Año. 2001/02
	production Jaleo films
	director Chiqui Carabante
	format HDCAM Sony F-900 24psf 1/48 for 35mm positive copy Canon EJ series lenses Shot with arrilaser on Kodak Premier positive
	screen ratio 1:1.85
	camera hire infoTV
	postproduction Imagen Line/ La Luna digital /MadridFilm

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	profile: launch
	colour grading: launch
	the shoot: launch
	press: the spider man vs. the world
	press: photography and make-up in digital cinema

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	video: seq 26. exterior beach (680 kb) seq 50, 51. exterior night (456 kb) seq 62, 63. interior day (284 kb) seq 105. warehouse interior night (388 kb)

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	info carlos contra el mundo

	The film's photography revolved around three focal points; first, the pressure exerted on Carlos by his family and specially his mother, who uses a constant emotional blackmail to force Carlos to prove his worth. This 'dark' mother-son relationship were illustrated by presenting the spaces ( the house, the shop, the warehouse etc. ) as small, cold and in some cases, like with the mother's house, as dark, a suburban home built in the 60's, where the lamp posts flood the rooms through the windows at night and there is no direct sunlight, only the one reflected from the opposite facade. The house was built on a set with flying walls so we could use long lenses, in fact most of the material in the house was shot with 24mm. The second focal point were the nights in hs quarter, where Carlos dreams about being and having what he cant achieve. To illustrate this we intensified the light (using 2Kw quartzs and 250Kw FOTOLITAS ) of the lamp posts, creating an exagerated light which gave the nights a surreal look. The greenish-yellow, orange and magenta ( with Calcolour filters by Rosco ) constituted the night colour palette. Finally, the third focal point was the day, which contrasted with the two previous ones but was also a continuation, since it had more colour but never enough to look as if there was a bright or sunny day. The day is also an extension of Carlos' night adventures and the pressure that his family exerts upon him. In essence, the aim was to make a 'sombre' film with pleny of shadows that reflected Carlos' oppressive and indecisive world. Given that Carlos contra el Mundo was only the second feature film in Spain to use the HDCAM system ( the first was Lucia el Sexo ), high quality lenses for HD were not yet available, so we had to use the best lenses in the Spanish market at the time, the Canon EJ Series which I had used previously in digital betacam productions. The results in that format had been excellent, but in HD I found that the anomalies in the lenses were apparent, specially chromatic anomalies that with wide angle lenses became totally unacceptable.

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	carlos contra el mundo stills

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	F 15mm T 5.6 filters 81EF,Pola, N1.2 -3DB The beach: the place where Carlos evades from his problems with his mural. In all the images the colours were desaturated by 10% after adjusting the blacks and warming the picture: -Cyan, -Blue, +Yellow During the shoot I chose to use a 81Ef to get a cold image so when it came to colour grading it maintained a cold feeling without being 'blue'. The polarizing filter was used to reduce the colour of clouds and sky.

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	F 15mm T 4 filters 81EF+N6+N1.2+Pola Here we exposed on the background, filling Carlos' face with a 6 Kw Cinepar filtered with Light Grid Cloth+ 251 on canvas, and adding a surreal touch with an Old Gold mirror card under his face.

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	F 24mm T3.4 filters: 81EFN9+N6+Pola+NDsuave 6. -3DB . White Clip 50 Slope-30 In this image with the sun as a back light source we exposed to make Carlos just a silhouette, but to give him some detail we filled with a 6KW cinePar. In colour grading we adjusted blacks and white tones separately.

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	F 24mm T: 2 filters: none. Face contrast ratio: algo más de 2:1 . Kitchen interior: the light comes in through a side window that is supposed to give to a patio, so there are hardly any shadows and the light is visibly insufficient, giving a muted and sad feeling. The light from the window comes from 9-lamp spot lights, the fill is done with Kino fluorescents. In colour grading we left a slight green dominance on the boy's face.

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	F 15mm T: 3.5 filters: 85N6

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	F:15mm T: 3,2 filters: 81EF In a hotel room Carlos' dream comes true. In this sequence we used sunlight coming in from the window supported by a 2.5 Kw cinepar filtered by a red curtain, we added fill and during colour grading we maintained the reddish tone.

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	F 24mm T: 3.4 filter: 81EF Inside the lawyer's office the Tungsten lights were corrected with 25%CTB. The image was slighty underexposed to create a muted look.

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	F 24mm T:3.5 filters: 85B+N9+N Soft degradation 0.6 . Knee point +50 Slope -50 Wclip -50 The location in the field where Carlos' theft is exposed: Using the overcast sky we built an image which, consistently with the rest of the film, was muted, without contrast, determined by the slightly warm colour of the soil and the pearl tone of the sky. In colour grading we corrected the blues and cyan and added some yellow.

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	F 24mm T: 3.4 filters 85N9.+ N6. The cousin's house was brighter due to the sunlight coming in through the windows.

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	F 10mm T: 2 filter 81EF In the cousin's warehouse office we kept the fluorescent's green dominances, even filtering some lights with plusgreen. The light was quite head-on to underline the cousin's family 'boss' attitude. In colour grading we maintained this dominance and even increased it in some of the shadows.

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	F: Zoom in canon 15x8.T 2.2 filter: 81EF

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