I’ve been talking to the office staff and Sergio Ordobas, our photographer, for some time now, that we need to add aerial images and film, small films.
A few days ago I met Renan Meurer, and I saw his aerial images casually of a group of bars here in Porto Alegre, where one of them has the Lighting Project of the Atelier de Lighting, The Will’s, I made contact and closed 15 initial projects to have aerial photos and footage.
We believe that we will add a lot to our work and our team.
I am honored to receive material from FX to analyze the Cinematography of this series, which has captivated audiences around the world, particularly through its recreation of the early 1990s.
I must admit that I was never a Spider-Man fan, not even as a child when I used to watch the classic 1967 animated series on television. But when I came across the news about Spider-Noir, something sparked my curiosity. I did some research and discovered that the concept first appeared in the comic books back in 2008.
Last week, my wife Gabi and I went to see the Michael Jackson film in theaters, and I must admit that I left the screening deeply impressed by both the cinematography and the lighting. Although the two naturally work hand in hand and constantly complement one another, this production makes it very clear that each serves a distinct purpose within the visual narrative.