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Jared

@jared.film

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Lighting Technician / Spark
and → @primogaffer ⚡️
"theory will only take you so far"
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The Root Tree •• directed by @igneooo A scene from a SciFi movie we haven’t written yet. • still one of my favorites • from a session in 12/2021 by @jared.film
12
4 years ago
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un montón de sentimientos nostálgicos 🎞 taken in Playa de Benijo by @jared.film
23
5 years ago
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“I DO IT FOR MYSELF” (Spec Ad) Producer / Co-Director: @igneooo Director / DP: @jared.film Talent: @belsechadonaigs & @kkatedral Voice Talent: @cristiaan_sw & @eriizs 1st AC: @igneooo Editor / Colorist: @jared.film Location Manager: @igneooo BTS Photographers: @luis.frixx & @porquegeneracion_ PA: @luis.frixx @anixva @amytheplanet , Daniel, Vuela Cab Driver: Antonio Javier Magdalena taken in Spain by @jared.film
26
5 years ago
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Work for @dunkindonuts_de Shooting a commercial in a bus was a first! 🚌 Lighting big window fronts can be challenging especially with limited resources. But that’s why (generally) recces are important in order to make a solid game plan. Slide 2️⃣: Sun position/cylce of shooting day ☀️ DP wanted to go with a hard afternoon sunlight look for this one. Slide3️⃣: I originally thought about building a truss build on two stands with a 12x20 topper to extend/cast shadow and place a couple fixtures beneath it to cover the window front. Which I think would‘ve worked flawlessly also with "hiding“ your setup on camera. —> but we didn’t have the capacity to do so. Lacation‘s roof helped with broadly blocking the sun, creating some shade which enabled us to go with smaller fixtures, too. Setup on Slide 1️⃣: We were shooting in the back of the bus later due to sun positioning. 3x similar in output fixtures on the side acted as our sun. Sun into CRLS-100 DIFF2 for fill on the ceiling in the bus (especially for wider shots) 20’x20‘ Black Art. Silk 1/4 to take some edge of the sun coming through the front. (not the best for this purpose but worked fine. also being a net/black silk helped with wind in that case) Slide 4️⃣: On this push-in shot the sun was backlighting the bus, except it didn’t entirely due to the roof. That‘s why I added a Evoke 1200 as a controlled sun/backlight on our favored position. Sun again into CRLS-100 DIFF1 creating a nice harsh sunlight on our Bus Driver‘s body. This and an old italian 4K HMI Fresnel pushing into a 12‘ Art. Silk for a nice big and soft fill. which was also acting as a bounce too once the sun was out. —> giving us that nice SOFHOB look (soft on face, hard on body) Some Solid T-Bone to give it some shape, and we were running everything off a 15kVA Diesel Generator. Client: @dunkindonuts_de Production: @focasfilms  Director: @nils.castner DP: @_moritzforster AC: @julian_gehrig Gaffer: @primogaffer BBE: @xrdrey Key Grip: Thomas Spitzbart  Genny Op: Julian Krauthäuser  Grip/BTS: @mustafaahmed.aim3 BTS: @moritz.knoellinger HMUA: Elisa Schaller Editor: @nils.castner Colorist: @jared.film by @jared.film
9
a year ago
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I’m a big fan of CRLS, but they’re not always the best choice for lighting a scene. I’ve been guilty using them unnecessarily - overcomplicating a setup for only a minor improvement. Not with this one though. The goal was to create sunlight, highlighting the girl during a pregnancy conflict counseling session—visually reflecting the emotional weight of her decision—while keeping the counselor more in shadow. The scene was set in a raised ground floor office, and since the budget and logistics didn’t allow for a condor or big stands like a @Avenger Long John Silver (which would’ve safely reached the height), we had to find another way.
That’s where the @thelightbridge C-100s came in - on wind-ups at about 4m, just reaching top window height. Keeping fixtures on floor stands and aiming them up, got us the right angle thanks to physics. Plus it kept the footprint of the setup narrow so we didn’t need to shut down the plaza. The first window was used as our key: an @arri D25 paired with an @aputure.lighting 1200D. Both into a C-100 DIFF1, which combined and blurred them into one source - essentially doubling the output - and gave us a wider spread and beam angle (something you tend to lose when bouncing into a relatively small, distant square), while still packing enough punch.
On the other window we had roughly half the output - 2x @Arri D12 - same setup, pushing “sunlight” through the background window. From there, we only needed to shape the light for close-ups: some neg, and I think a ¼ White Diffusion to take the edge off on her coverage.
For the reverse, besides the natural bounce off a prop document on the desk, just a bounce board to wrap the light. Slide 5+6: A “Night for Day”. Next time I’ll fix the double shadow though 🥲
Slide 7: Bonus
Slide 8: DP with his signature angle PM @aberttv
DIR @xdrey
AD @nils.castner
DP @_moritzforster
AC @julian_gehrig
CLT @primogaffer
BBE Julius Enczmann
Sound @yannik.horn Matthew, Asher
HMU @marleyy.bae
Editor @xdrey
Colorist @jared.film by @jared.film
8
a year ago
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Gaffer + Color 💡🎨 work for @levis (spec ad) Levi‘s - True Love Begins With An Old Jeans (Commercial) // My favorite project of past year! Got to shoot in a to me very familiar area of Catalonia, Spain.😊 Stills and lighting set up of each, also including some behind the scenes photos. Some shots were nice and easy just lit with sun and bounces some others required to block the current sun to create our own lighting direction to be able to shoot in that tight schedule. On the last day (first 2 slides) it was raining. All in all the setups turned out exactly how I‘ve had planned them. Just adapted to different blocking or weather conditions. Let me know what you think of these breakdowns! Director: Tom Ruckes @tom_rks EP: Tom Ruckes & Delia Eifeler @tom_rks @deleeyuh Production: @405curated DP: Oscar Tiedge @oscartiedge AC: Timm Biedermann @timm.biedermann Gaffer: Jared Paul @primogaffer Lighting Tech: Lorenz Sponholz @lorenzsponholz Lighting Tech: Jan Ruckes @ruc.kes PD: Delia Eifeler & Jan Ruckes @deleeyuh @ruc.kes Sound Design & Mix: Jojo Grote @jojo_grote Editor: Jay Benzler @jaybenzler Colorist: Jared Paul @jared.film VFX: Marlene Sandmann @marlenesndm Hair & Makeup: Julia Waltner @juwa.makeupartist Photography: Pau Recasens @pau_recasens Rental: @napalmrentals taken in Provincia de Gerona by @jared.film
35
2 years ago
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Head over to YouTube to see how we did the lighting for this driving car scene! (link in bio) 🚗💡⚡️ Passenger Princess: @desireekottwitz Upset Driver: @isabelle.art.ffm EP: @jared.film Gaffer: @primogaffer DP/Cam Op: @paul.pokes Producer + HMU: @juwa.makeupartist Lighting Tech: @timm.biedermann Grip + BTS: @lucchevalierr #gaffer #filmlighting #cinematography #nanlite #crls by @jared.film
9
2 years ago
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Color Work for: Wo Tauben Sterben (2024) Production: focasfilms @focas.films Director: Nils Castner @nils____11 DP: Moritz Forster @_moritzforster Gaffer: Zac Paztor @zacjacksonurlaputa Key Grip: Thomas Spitzbart Lighting Tech: Drey Corral @xrdrey Lighting Tech: Marius Kraft @marius.krft Grip: Julian Krauthäuser @julian_undercover Grip: Chris Schütt @chris__schuett Grip: Jannis Schmökel Drone Op: Chris Düwel @chrisduewel HMUA: Susie Retter @susi.retter Assistant HMUA: June Meyer @wasnunjune Colorist: Jared Paul @jared.film 🙋🏽‍♂️ Composer: Florian Grove Sound Designer: Steve Wühr Editor: Nils Castner Rentals: Beimann Cineastic, Spitzbart Filmtechnik by @jared.film
8
2 years ago
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Commercial work for @6ixt4our “A MI BOLA“ “Originally, we were flying to Galicia to shoot a short film, but we also discussed making an ad for @6ixt4our. As the week progressed and we needed to extend the short film shoot by a day, it didn’t look realistic to fit in another project. We were exhausted and left with less than 24 hours. At 4 PM on the last day, the owners Samuel @samuel.canay and Javi @6ixt4 of 6ixt4our approached Nacho about the concept. We had a quick brainstorm about the narrative and based the story around a caravan location available next door. From there, everything went crazy. Production designer @ottosanttana signed up spontaneously, talents were scouted, and locations managed—all on a random Wednesday before Christmas. We started shooting at 9:30 PM. While we were shooting downtown, a second unit was prepping a huge graffiti painting in a lost place for the final scene. We wrapped around 7 AM. Julian and Jared had only 2 hours to pack and clean all the gear and clothes before heading to the airport. What a night, what a project, what insane people! We’ve never done anything like that in such a short time and at such a high level. Everything worked together like magic.“ Brand: 6ixt4our: @6ixt4our Producer/Director: Ignacio Pérez Salvatierra @igneooo DP: Julian Gehrig @julian_gehrig & Jared Paul @jared.film Production Designer: Pablo Maroño Miguez @ottosanttana Gaffer: Jared Paul @primogaffer Cam Op: Julian Gehrig @julian_gehrig Lighting Assistant: Rodrigo Pan Scorziello @rodri.terrible Editor: Ignacio Pérez Salvatierra @igneooo Colorist: Jared Paul @jared.film Lead Actor: Jaime @thespicyjaime Talents: Sofía González Castro @sofigc_ Sara @lizgaira Pablo Maroño Miguez @ottosanttana Carmen Carpinisan @cece.flea Rodrigo Pan Scorziello @rodri.terrible Fernando Soto Barrientos @f3rfer_ferf3r Clothing: Samuel Canay @samuel.canay & Javier Vila Martínez @6ixt4 Location: Cocina de La Urbana @laurbanabar taken in A Coruña, Spain by @jared.film
17
2 years ago
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‘Réparer’ @TheDoug_edn @universalmusicfrance @islanddefjam Director: Karim Coppola @karimcoppola Director of Photography: Jared Paul @jared.film
Production: Visore Lab @visorelab Stylist: Pau Avia @pauavia
Movement Director: Valentin Beaufils @valentinbeaufils Set Designer: Yosi Negrin @yosinegrin Art Director: Gabin Ducourant @gabinducourant 1st Director Assistant: Yen Espinoza @yenespinoz 1st Director of Photography Assistant: Ignacio Perez-Salvatierra @igneooo 
Executive Producer: Karim Coppola @karimcoppola Production Coordinator: Giulia Guerrero @giuliaguerrero 1st Production Assistant: Logan Lahiany @logaanl Camera Operator: Julian Gehrig @julian_gehrig Gaffer: Matéo Colzi @mateocolzi Best Boy: Daniel Monneau 1st Camera Assistant: Simon Klostermaier @gefahrimverzug  2nd Camera Assistant: Ambre Ruiz @ambrx.ruiz 1st Set Design Assistant: Vittorio Pessin @vittorio_sans_le_c Hair Stylist: Kevin Roux @kevinrouxhair Make-Up Artist: Catalina Sartor @catalinasartor_ 1st Stylist Assistant: Carlota Pascucci @lotipascucci  2nd Stylist Assistant: Taline Sharaf @talinesharaf  Editor: Julian Gehrig @julian_gehrig Colorist: Jared Paul @jared.film
Photographer: Kaj Lehner @kajlehner  Graphic Designer: Pau Geis @paugeis Music Record Label: Universal Music France @universalmusicfrance / Island Def Jam @islanddefjam Artist Management: EDN Productions @ednproductions  Wardrobe: Acne Studios, Anthony Calydon, Lorette Colé, Duprat, Marni, J.M. Weston, Diesel, Ludovic de Saint Sernin, Courrèges, Études, Cdlp 
Location: Cor Studio @cor___studio Special Thanks: Second Name @second_name, GO-SEE @go_see, WSM @walterschupfermanagemen Rentals: 711 Paris @711rent , Beimann Cineastic taken in Paris, France by @jared.film
18
3 years ago
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quick color work for @maves_media & @deaflizard444 📺 music video - Production: @maves_media Producer: @deaflizard444 Director: @shotbymalawski + @okjupp DP: @shotbymalawski + @timm.biedermann Production Design: @paull_s_ Gaffer: @jared.film Editor: @okjupp Colorist: @jared.film BTS: @2morrroo Shot on: ARRI Amira + Sony FX30 by @jared.film
13
3 years ago
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a few shots i‘m quite proud of. New video up on YouTube. Link in Bio. Shot on the Jupiter 35mm Macro Cine Prime. 🎥 Shower Scene: directed by: @_malawski shot by: @julian_gehrig and myself lit by: @xrdrey + myself Water Scene: shot by @julian_gehrig #bmpcc6kpro #siruiimaging #colorgraded #davinciresolve #cinematographers by @jared.film
18
3 years ago
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