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Jorge Quintero

@jorgequintero.dp

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-DP | Gaffer | Colorist
- Founder of @cinestar.films
- 1-3 Ton G&E Trucks 🚛 RED v Raptor 🎥
📍 NY Tri-State Area
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“People Like Me” out on Peacock now! I had the pleasure of gaffing the NYC unit on this beautiful, intimate new TV show. It was a ton of fun and challenged me to be incredibly well-prepped and able to move really fast. Shooting close to 10 pages a day, there was no room for figuring things out on the spot. Oftentimes shooting more than two big set pieces in a day, with lots of extras. My small but mighty G&E crew absolutely helped crush it and exceed expectations. Big thank you to the incredible DP @kamdarfarhan wfor bringing me on this project and putting a lot of trust in me to collaborate and help bring this beautiful vision to life. Stay tuned for some lighting breakdowns (maybe, if NBC doesn’t sue me 😂). (Not extensive crew list) Production Company: Tandem Pictures Executive Producer: Julie Christeas Producer: Ainara Landon Creator/Director: @darendarendaren Co Writer: @jonathangaurano 1st AD: @Nikycarne Hannah Barbera 2nd AD: Ella Doran PM: @cameron_morton DP: @kamdarfarhan 1st ac: @zanezpena 2nd ac: @roomaline Steady: @shot.by.malcolm Gaffer: @jorgequintero.dp 😈 Key Grip: @jode_sparks Swing: @internetjohn_ Swing: @pablorobertoarias Sound: @data_dawg Production Designer: @lucasdegirolamo Prop Master: Marie Bedross Costume Designer: Annie Simon Hair Stylist: Matia Emsellem Key Make up: Nat Carlson Location Manager: Billy Soistmann Key PA: Quan Robinson Script Supervisor: Nieves Garcia #Gaffer #tvshow #framegrabs @peoplelikemeshow by @jorgequintero.dp
19
a year ago
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#Gaffer… By far my favorite project to have Gaffed last year. This was such a beautiful collaboration between filmmakers and actors. Everyone on set felt how well everything was just gelling together, from the cinematography, lighting, production design, location and actors performances, everyone could feel that we were making something special, and gave it their very best Small and intimate sets with character driven scripts is by far one of my favorites to be on. Big thank you to my G&E team who gave it their 120% to be fast and efficient, and kept a great attitude despite having very long days! We were ambitious with our lighting set ups, and couldn’t have pulled it off without our amazing team 💡🛠️. Lighting breakdown coming soon! . . . directed by: @kislomolochniy producer: @olga_akuyeva exec. producer: @seanmichaelkaplan director of photography: @niki_waltl 1st AC: @antonio_dicaterina 2nd AC: @sn17kmv gaffer: @jorgequintero.dp bestboy: @pabloariass_ key grip: @normanrubinsky prod design: @elbeanah costume design: costume: @spacyy, @varvara_v_avdyushko hair & makeup: @annacherchen 1st AD: @mariachok 2nd AD: @worldlycreatures prod. sound mixer: @evgeny.kolesnikov set decorator: @cause.love.art co-producer: @conkreative mvp: @vasyaokyn colorist: @vicious_eye_media still photography: @karnyukhin set PA: @mna238 set assist: @ilya_svezh set PA: @ildocode starring: @pauldillonjtown as Marvin @delphiharrington as Sofia @anniehagg as Crystal @___bourque___ as Mitch @erikaedaly as Mitch‘s wife shot on @arri Alexa 35 and Nikkor AIS vintage prime lenses . . . #behindthescenes #setlighting #lighting #shortfilm #litemat #1200d #m18 #vortex8 #600d #titantubes #lightingforfilm @cinematic_lighting @filmlights @aputure.lighting @aputureasia @litegear @modernstudioequipment @lightingforfilm by @jorgequintero.dp
20
3 years ago
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#Gaffer A simple but beautiful Christmas TV spot I had the pleasure of lighting recently. A pleasure to collaborate on this one with DP @reid_carrescia. lighting breakdown coming soon! Client: @oldcountrygardens Agency: @mnemonicagency Creative Director: @mrscrim DP: @reid_carrescia Gaffer: ☝️ @jorgequintero.dp KG/snow maker: @mfdowling Team Lead: @schuck91c Talent: @kinsley_daylene & Lily Music: @allencarrescia Edit and Color: @reid_carrescia . . . . #christmas #commercial by @jorgequintero.dp
6
2 years ago
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#Gaffer Night exteriors on a budget can be daunting, especially lighting large spaces. My approach simplifies the process: determine the light’s motivation—moonlight, streetlights, or a fire pit—and treat the scene like any other, adjusting for scale. Large exteriors follow the same principles as smaller scenes but require larger, more distant sources. For this shoot, DP @reid_carrescia and I discussed going for a purely moonlit look. We chose a hard-ish moonlight to backlight falling snow, paired with a soft bounce for fill or key depending on the talent’s orientation. The main hard moonlight came from an upstage 3/4 backlit angle to light the barn area. To emulate the far-reaching quality of moonlight, we used reflectors for added height and distance. An @aputure.lighting 1200D with a narrow reflector shot into a 50cm CRLS #2 and a 4x beadboard soft side, both rigged on a mombo. This provided a blend of hard specular light and soft ambient fill from one source. For soft fill, a 600D was shot into an 8x8 Ultrabounce, with flags shaping the spill. Inside the barn, @asteraofficial titan tubes added a warm interior glow. A @aparolighting radi 4x4 litemat served as the augmenting key for mediums and close-ups, complementing the 8x8 while providing a flattering shape to pick out talent against the background. To enhance the scene, a snowmaker FX machine was rigged on a triple riser top stick and rotated for realistic snowfall. Client: @oldcountrygardens Agency: @mnemonicagency DP: @reid_carrescia Gaffer: ☝️ @jorgequintero.dp KG/Snowmaker: @mfdowling Team Lead: @schuck91c Talent: @kinsley_daylene & Lily Music: @allencarrescia by @jorgequintero.dp
14
2 years ago
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#DP So you’re lighting for an interview style frame, but it’s for a commercial project, where you have a bigger budget then your typical doc style interview, what can we do to spice things up a little? This case study of a recent commercial I DP’ed and directed. We were going for a “Masterclass” Style look. I like to start by lighting the space and establish a look that will stay consistent through the day. The first step is to block the direct sunlight from hitting the windows. To do this my key grip @pabloariass_ set up a 12x ultra bounce “shelf” outside the largest window of the living room set with the white side down. We doubled duty this frame and also bounced (2) @nanlux_global 2400B’s into them to bring soft ambient light from above into the room. This helps bring in the “room tone” or ambience a stop or two above what the natural daylight creates, helping maintain a consistent level through the day. Next we set up our splash of sun in the background. We employed the reflecting off the mirror trick in order to double the distance and height of our source so that we get more realistic looking sun (I have another breakdown going into detail of the physics of this technique in a previous post) We used (2) Nanlux 1200B’s with fresnels at full spot, going through 1/4 CTS. Jumping inside we key talent with a two part combo. We use a @litegear spectrum 4 as a key/edge which only hits less then half the face, and then use a 1200C Panel through a 6x bleached Muslim w/ a 50d egg crate to wrap that light around the face. By using a slightly harder source, then layering a larger soft source, it creates more of a gradient on the face that feels pleasing and more 3 dimensional then simply using one single soft source to key. Then the classic Litemat spectrum 2l as a black hair light motivated by the sun splash. Just a a bit of extra ambient with a @nanlite 500B w/ projector into the ceiling, a floppy for negative fill Client: @nieveseducationalgroup Production Company: @cinestar.films Director/DP: @jorgequintero.dp ☝️ Producer: @mrsluzquintero Gaffer: @normanrubinsky Key Grip: @pabloariass_ Swing: mike Pacyna Editor: @christianq_24 Colorist: ☝️ by @jorgequintero.dp
25
2 years ago
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#DP I had the pleasure of Directing and DP’ing this Masterclass Style ad for a good friend and their business. Hope you enjoy this type of lighting breakdown, let me know your thoughts or any questions you might have in the comments below 🙏🏼 I have to give a huge shout out to my small, but mighty crew. It was an ambitious lighting plan, and everyone contributed so much beyond their roles, very proud of my whole crew on this one, we achieved an end result that traditionally would take tripple the crew size. All equipment provided by @cinestar.films Client: @nieveseducationalgroup Production Company: @cinestar.films Director/DP: 🙋‍♂️@jorgequintero.dp 1st AD: @mrsluzquintero Gaffer: @normanruninsky Key Grip: @pabloariass_ Grip/Swing: Mike Pacyna Editor: @christianq_24 Colorist: 🙋‍♂️ . . . . @nanlux_global @nanluxamericas @litegear #lightingforfilm #filmlighting #filmlighting #lightingbreakdown #bts #behindthescenes #nanlux by @jorgequintero.dp
50
2 years ago
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#DP Day Interiors can be challenging to light and achieve a natural or realistic looking image without looking artificially lit or unnatural. One of the easiest ways to achieve that is to light from the outside, mimicking where natural daylight typically comes from. This is a new format for me with these breakdowns, but it was a lot of fun to make! Let me know if this a format you enjoyed with these lighting breakdowns. I may do a more detailed lighting diagram, long caption breakdown where I can go more in depth with some of the concepts and techniques demonstrated in this reel. Huge shoutout to my Gaffer @normanrubinsky for single handedly handling all the G&E in record time and killing it with limited manpower. Big thank you to @aparolighting for sending me this light to try out on my productions. Ive had a chance to use it in many scenarios for a little under 2 months now. I’ve really enjoyed this style of light. The ease of set up and ultra light weight nature, and sheer firepower of this fixture has turned it into my go to soft key light for a lot of my lighting set ups. I may be doing a full review of this light in the near future so stay tuned for that. What’s your go to set up for bringing in soft ambience through a window for day interiors? Would love to hear other people like to tackle this. . . Also featured in this breakdown @nanlux_global @nanluxamericas @blackoutlightingconsole by @jorgequintero.dp
17
2 years ago
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#Gaffer…Its a fun challenge when lighting a product, such as this really amazing abstract piece, in a studio. In the case of this art piece which turned from the @oneplus logo to the number 12, it had two surface types. One side was very matte and dark, while the other was shiny and reflective. To complicate things even further we had to light for all the shots in one take, as the camera started on a close up of the artist holding the phone, backed up to reveal the logo, then made a 90 degree turn where the abstract piece turned from one into the 12. In order to execute this all the lights had to be programed and cued to turn on and off, and dim to different values across the entire 30 second move. First we have 4 @asteraofficial titans inside the box that the art piece was suspended over, with a diffused lid to give an even up light. When shooting in the direction of the logo, we had an @arri Skypanel s60 illuminating the back wall, coupled with an @aputure 300x with a spotlight mount. Since the logo side was very dark and matte, it looked best silhouetted rather then lit, so no fill light was used on that side of the logo. When shooting the 12 at the end of the steady cam’s 90 degree arch, an aputure p600c panel created a soft wash with a bit of shape on the back wall. The art piece was keyed by a 600x with a 3ft light dome on the grid at a 3/4 frontal angle. To fill in the shadows we had a 600D with a fresnel skipping off the floor, in the direction of the piece. Lots of fixtures throwing light in all directions, Coordinating the lighting cues with the camera moves was the key to maintaining a polished look as the camera pointed and moved nearly 200 degrees of the set. Everything on @blackoutlightingconsole of course 👌🏻 The whole team absolutely nailed it on this spot. Agency @kameronhelsinki Producer Juho Harjula Director/DP @director_ostergard Steadicam operator @dqcamera 1st AC @antonio_dicaterina Gaffer 🙋 Best Boy / Grip @pabloariass_ Perceptual art @perceptual_art taken in Be Electric Studios by @jorgequintero.dp
10
2 years ago
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#Gaffer...Augmented realism. This is a good way to describe what DP @niki_waltl and I were going after with this short. With Day interiors, it looks more natural to bring in your light from the outside to augment or mimic what the sun and or sky is doing already. And just augment and “wrap” the light coming from the outside when needed with sources inside. In the case of this scene we were in a 3rd story floor and no way to rig lights outside the windows (no budget for lifts) so we had to bring all of our lighting from the inside. We made the biggest key light we could fit which was a @creamsource vortex8 bare through a 6x6 T bone set up with full grid cloth with a 40 degree Grid to help shape and control the light inside. The key light was always pushed from the side side of the windows so that feel motivated, but always moved around to the upstage of where the camera was placed to get the some nice shape and modeling on our actor’s faces. When possible we bounced the vortex off curtains before going through the 6x6 to further soften it on the close ups. An @aputure 600x with a 30 degree projection mount hitting the ceiling for room tone. Finally , just an 8x8 T Bone for neg fill on the camera side and blessed the room a boat load of haze for 🤌 . directed by: @kislomolochniy producer: @olga_akuyeva exec. producer: @seanmichaelkaplan director of photography: @niki_waltl gaffer: @jorgequintero.dp bestboy: @pabloariass_ key grip: @normanrubinsky 1st AC: @antonio_dicaterina 2nd AC: @sn17kmv prod design: @elbeanah costume design: costume: @spacyy, @varvara_v_avdyushko hair & makeup: @annacherchen 1st AD: @mariachok 2nd AD: @worldlycreatures prod. sound mixer: @evgeny.kolesnikov set decorator: @cause.love.art co-producer: @conkreative mvp: @vasyaokyn colorist: @vicious_eye_media still photography: @karnyukhin set PA: @mna238 set assist: @ilya_svezh set PA: @ildocode starring: @pauldillonjtown as Marvin @delphiharrington as Sofia @anniehagg as Crystal @___bourque___ as Mitch @erikaedaly as Mitch‘s wife @cinematic_lighting @filmlights @lightingforfilm by @jorgequintero.dp
7
2 years ago
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#gaffer...Many times we are faced with the challenge of lighting a scene to look like a particular time of day, when it is indeed not that time of day (or night). In the case of our opening shot for the short make laugh, it was to be early morning sunrise, and it was late at night when we lit this scene. There are two components to imitating a day interior. First is the actual sun, and the second is the ambient light. For the sun part we had an @aputure.lighting 600x w/ the dish, and an @arri L7C Fresnel. Both where set to 3200k. For the ambient daylight, it always looks more natural to bring a very soft light from the outside, to imitate the sky ambience, however there were no more windows in our space, so we faked a window. To the left of the table, we used the doorway to create a booklight with a 6x6 half grid w/ a 40 degree Grid. a 600D with full CTB was first bounced into a 4x4 beadboard then diffused through the 6x6. This light did most of the ambience and shaping of the room. To create some color contrast, and imitate the cool ambient sky light that might be coming through a window from the opposite side of the room, we bounced @asteraofficial titan tube into the ceiling set to a very cool tone. The same was done for in the narrow hall next to camera to create the cool light seen on the walls of the hall that create a frame within a frame. Lastly we had another Titan tube that was creating a tv flicker effect, which was foreshadowing an important part of the story which was the TV the living room. And last of course, lots of hazeee. Full credits list on main post. . directed by: @kislomolochniy producer: @olga_akuyeva exec. producer: @seanmichaelkaplan director of photography: @niki_waltl gaffer: ☝️ bestboy: @pabloariass_ key grip: @normanrubinsky 1st AC: @antonio_dicaterina 2nd AC: @sn17kmv prod design: @elbeanah 1st AD: @mariachok 2nd AD: @worldlycreatures prod. sound mixer: @evgeny.kolesnikov set decorator: @cause.love.art co-producer: @conkreative @cinematic_lighting @filmlights @lightingforfilm by @jorgequintero.dp
8
2 years ago
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#Gaffer…This was such a fun spot for @oneplus announcing their new phone product launch. It was such a mind bender to see this piece take form in front of us and then figuring out how to best light it. It had a combination of both reflective and matte surfaces and it was a fun challenge with a small but nimble crew. Agency @kameronhelsinki Producer Juho Harjula Director/DP @director_ostergard Steadicam operator @dqcamera 1st AC @antonio_dicaterina Gaffer 🙋 Light programming @jchua_ch Lightning technician & Grip @pabloariass_ Studio @beelectricstudio Perceptual art by @perceptual_art Concept development Lauri Tamminen & @jogard taken in Be Electric Studios by @jorgequintero.dp
2
2 years ago
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#Gaffer...Many times we are asked to recreate the most beautiful natural light source, the sun. This task can often be a challenge as our eyes have very much learned to recognize and can detect what real sun looks like. The real sun away is VERY far away, and due to the inverse square law, there are two main characteristics, that when imitated, one can achieve a more realistic feeling sun. (Full explanation in the comments below) In the case of our scene today, from the Short “make laugh” , the room was located on a 3rd floor of a Brooklyn apartment. We used a menace arm to position a mirror board right outside and above the window. From the ground floor we shot an @arri m18 full spot (1/4 CTS) right into the mirror board. Even though the mirror was 3 feet from the window, since the light was about 45 feet from the mirror, the characteristic of the beam (in regards to fall off and how parallel the beam) is as if the light was 45 feet away. And thus rendering a much more realistic and beautiful looking sunlight in the room, and on the talent. The windows where frosted with a light diffusion to take the edge off our fake sun. The back window had a @creamsource vortex 8 right outside the window, as mirror board set up was very time consuming and couldn’t (ideally) mirror the set up with the mirror bounce for the second window. Lastly we had a @aputure.lighting 600x w/ projection mount hitting the ceiling for a bit of room tone on the backside of the room. Full credits list in previous post directed by: @kislomolochniy producer: @olga_akuyeva exec. producer: @seanmichaelkaplan director of photography: @niki_waltl gaffer: @jorgequintero.dp bestboy: @pabloariass_ key grip: @normanrubinsky 1st AC: @antonio_dicaterina 2nd AC: @sn17kmv prod design: @elbeanah costume design: costume: @spacyy, @varvara_v_avdyushko hair & makeup: @annacherchen 1st AD: @mariachok 2nd AD: @worldlycreatures prod. sound mixer: @evgeny.kolesnikov set decorator: @cause.love.art co-producer: @conkreative mvp: @vasyaokyn colorist: @vicious_eye_media Lead @pauldillonjtown as Marvin @cinematic_lighting @lightingforfilm @filmlights by @jorgequintero.dp
8
2 years ago
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