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Corazon Vizcaya Art Installation Piece By Magnus Sigurdarson

Recently I was hired as the cinematographer and editor for an art project by local Miami based artist Magnus Sigurdarson and Producer/Director Jaime Piña. I used my Sony A7rii with the metabones adapter and the Canon 24-70mm L series lens.

The final piece will exhibit from May 2016 through May 2017 at the Vizcaya Museum in conjunction with their centennial. The concept is to capture scenes of a telenovela–called Corazon Vizcaya.

During location scouting my main focus was to look for best available light. Remember this was a super light crew and we had about 8 hours with the actors. We had minimal time to setup so the sun and bounce board were going to be our sources. We shot stills of the locations and added notes for best times to shoot. I downloaded a handy App called Sun Seeker to see the position of the sun for the dates and times.Vizcaya

We decided to shoot b-roll of the property on a separate date, this way we had more time with the actors during the main shoot. The b-roll shots we shot were mainly for cutaways and establishing shots to lead into different scenes. What’s nice about being a cinematographer/editor is you can look for the story visually while finding it editorially. I love that. Sometimes the feeling is right on set to get a different angle, shot, or even movement and what comes from that is a more natural tone.

 

“What’s nice about being a cinematographer/editor is you can look for the story visually while finding it editorially. I love that. Sometimes the feeling is right on set to get a different angle, shot, or even movement and what comes from that is a more natural tone.”

On the actual production day the weather was kind of grey from the clouds. At times we had to wait until we had some clearing in the sky to shoot. Clouds tend to take away a lot of saturation from the image requiring you to reintroduce saturation during the post-production process. Overall we worked through the clouds and got some amazing shots and chemistry from the actors.

During the pre-production meetings we had decided to hire a drone operator and bring him in towards the end of the shoot. His shots were primarily b-roll shots of the mansion, the grounds and an intro shot of all the characters positioned on the stairs. We also used the drone for one of the main characters'(Phantom de Vizcaya) POV shots. Specifically the scenes where the phantom was kind of gliding through the grounds of the Vizcaya creating the illusion of the phantom’s movement.

After a long day of shooting we were wrapped. Now we were on to the next phase of the project… post-production. But I will talk about that experience in another blog.

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