 Magadagaharaw sa mga suki natin mananod at sa lahat ng tagahangan ng pelikula. Ang makakasama natin ngayon ay isa sa mga kasamahan natin dito sa in situt ng pelikula. Literatista, cinematographer at director. Premiadong cinematographer at director ng mga patalastas sa television simula dekada 80, gumawa na rin siya na mga seri sa television kabila ng Noli Metanghiere na kasama at dinirihin ni national artist nasi Eddie Romero. At mga pelikula, kasama mga director nasi na Carlito Siggion Reina, Tikoya Giluz, Ellen Ong Keko Marfil at Oreio Solito. Mga kaibigan, ikinagalak namin max sa mga yung araw, Siggion o ang Nap Hamir. Nap, magandang araw sa iyo. Magandang araw rin. So ang bisahan ko na Patrick ano. So pagusapan natin ang pagiging photographer mo. Yan ang makagas ay yung in your life, yan yang talagang pinasukan mo. Was it, did you have some formal training dito sa anang galing yung kabustuan mo maging photographer? Kaya Joe Marichand. Magandang po yun. Magandang po yun. Surprise. Kasi nung nasa Koleo pa ako, isa sa mga org namin, naging expulsor kami ng mga show. So there was a concert na si Joe Marichand ang start ng programa. Ang gusto nilang multimedia. So may mga kumakanta at meron mga images behind. Ang mga lama nung mga, mga klasi ko nung mga ka-org ko. Dating father ko, photographer. So assumption nila na, tatay mo. So ay wala, totalin mo lang lumalaki ko. Tanagang medyo dinestans ko sarili ko. Kasi iba yung ano. I wanted to be an engineer, I took up. I actually enrolled in management engineering. So parang mo pag-engineer. Pero nung nahawakang ko yung camera na pilita nang kumakang ko ng camera. Eh, hindi ko na nabitakan. Parang osmosis, parang nandun na talaga all the time. From there, madami na nangyari sa iyo. Marami na nangyari. So as an emerging photographer, isa ka dun sa, well, nung unang ibinigay yung kategoria ng photography sa 13 artists na CCP were there. Maybe describe a little bit anong yung uri ng work na ginagawa mo ng 1974. Well, yung mga time nung, yung, of course I was home to history of photography because my father was classically trained photographer. So yung mga time ng photojourn list, life magazine. Mayro namin nung subscription on. So I was immersed in that kind of world. But then, naghalo eh, kasi nung mga 70, 71, 72, yung yung mga age of a query yung sa'ya. So, of course, bata ka, yung mindset mo medyo magulu. So yung imaging na lumalabason. Actually, I was doing poetry. Parang il-conceptual, iba. So medyo, iba yung dating na. So it got spawned by that. My photography because I was also in love with film. But that time when I was still in school, we didn't have cinematography or film as a course. It was generally we were mostly centered on theater. I had professions like Rolando Tinho, you know, and I was surrounded. My classmates were like Pony Perez, Paul Dumoll. So, sa theater talaga. Pero siya nung nakakita sa'yo for you to be part of that certain artist? It was a body of work because initially, when I was doing photography, I wanted to do photography that was more cinematic kasi instead of single images. Around the 70s, there was an American photographer named Dwayne Michaels that was doing outside photo stories. So it was actually a singular image or not enough. So nangyari, meron siyang sequence. Parang comics. Yeah, series. So may kwento. So parang natipuwan ko yung sabi ko, ito yung tama kasi, baray mo yung gusto yung sabihin. Hindi magkasi nga sa isang retrato. Prior to that, I was doing montage. I would put two images together. So there's already something cinematic at the beginning. Yes, I was doing these things. I was working with Jingle Magazine. I mean again, another old thing. So I had a page where I would do all of these explorations. So it evolved and then I had friends who were in the art world. So they said, so mag-exhibit yung mong trabaho mo. Sabi na sila. So nagkumpis ako. Nagkumpis ako. Parang ano eh, parang nasindihan ang ano eh, yung mitsya eh, biglang. Ito yung ano, yung translation mo to cinematography. From photography. Hindi naman. Salan doon. Nung ano parang nangyari yun, nagkaral rin ako. Neroon Film Institute of the Philippines eh. I mean, parang lumang factoid na isa sa mga nagsubok na magtayo ng parang films ko. Si Ben Pinga. Ah, you were part of that. I was part of that. And I had people like Cesar Hernando, Sokose, Rafi Guerrero and all these other people. We were all into that. And that was really my, my passion was really to do films. So from your highly, some works were experimenting with form na sa photography. Did you ever do experimental films early on? Super 8. Actually, but I never, hindi na namin mahalap eh. But I did super 8. And did you show them? Like, did you show them in shows? Sa ano lang, sa isang sore, tapos magutik pa kami maband. Sorry, the scenes ko. Ang medyo na nila. May mga sexual ano jalan. So, sir, siyong katrabaho mo yung unungun ng pelicula? Well, ako ikaw lang. Hindi, kasama mo ko si, pa, Chito Aviado, kapatid siyong younger brother nipandi Aviado na, noted na, artist. And then si Jim Sartu was a sound man. And again, involved into one of the leading lights and sounds. So, we were playing around. Even to the point of getting news footage from ABS and scratching on it, kasi ang mahal mag-shoot ka ng pelicula eh. Napagalitan nga ako ng nana ko in, in, afterwards kasi minsan yung isang sim na ano, tuition ko ginami ko. So, para-experimentaw, para-experimentaw, para-experimentaw, para-experimentaw, scratching on the film. Yes, experimental definitely. Hindi narrative, it was in real life. So, parang film as art. Yes, because of again the influence di na, pandi Aviado. And, it was really more of that. It was like a self-expression. I guess yung films dung 60s mga skin and anger, yung mga New York na, Bander Big and all these other people. So, it was really more of that. And again, because of resources. Kasi hindi ka naman talaga makapang-shoot eh. Mga uda namin, shoot to super eight, hiniram namin yung camera sa lasale. Na-bulex. Dung ka na nags-shoot. So, really, big steal or borrow. Pero napunta ka rin sa advertising, television. Yes. And of course, film. Yes. So, siguro magadariging pag-usapan. Which one came first? Well, in terms of chronology, so, I started experimenting in photography. I was very, very active. I was a real more of a fine artist. And then, I had friends who were in advertising. I started to do, since I was taking pictures na rin, so, di ko, kailangan ko rin ng kontig pera. So, nags-shoot-shoot ako ng mga, mga AVP, mga material. Kasi, uso pa nung, mga, mga 73, 74. So, as early as your photography, actually. Yes. Kasi, what was in vogue at the time was audiovisual presentation. Say, wala pa nung chat nung video. So, multi-screen deba. It was very popular. So, I would provide content. So, they'd contract me and I'd go everywhere, just shoot-shoot-shoot. Mga slides nung. You know, nga nung. And then, I eventually evolved into that. I was part of a design, graphic design group of my fellow classmates nung sa ateneo. It was called media boutique. And these were boutique style designs to just that cater to below-the-line advertising requirements because major advertising agencies didn't want to bother with posters, logo design, animal reports. That's where we got in. So, Advertising was first. Na, yung na mung napasok na. And when did you get into film or cinema? Well, it was a natural transition. Tayu ko nung group o with this partner of mine in Ilochima. We were very much evolved in advertising, photography-wise. But I had friends. We were also directors. And at the time we were doing photography that had a certain look. That made you new wave, new wave. And so, siyempre, TV commercials, they wanted to get into that. They wanted to feel of the youth. So, ako, I said, I do that photography and they say, other little training in film, in handling cameras because of ang film yung kay Ben Pinga, my days during those times. So, I transitioned into that. So it wasn't really a case of out of nowhere as I became a cinematographer. It was merong kong ting training. Gigi, babalikan. Ben Pinga, can you describe that, of course, isa sa mga unsung but could you describe what was happening in that institute? Was it like a big school or there are many people? Parang maraming documentary sa ginagawa si Ben Pinga. So, and then you said you had some training in cinematography there. So, may mga courses byto or what was it? Yeah, it was really like a license sheet the course. The license sheet was in documentary filmmaking. As though we were like, you know, school din mga Nanook of the North of the old documentary. So, yun ang stress na. But we were parang, yun ma-squatter but we were actually housed in the pamantasan na lucid na may nila. Okay. That's where we had our classes. So, that was also a division there but separate from pamantasan. So, mga karameyan professional say maraming tal galing sa advertising. I mean, I got to know people like Sina Peque, Sina, Bush Perez. So, mo got to handle equipment so there were telegraphs. Yes, there was a semblance. Actually, for me, since, sabi ko, gusto ko mag-camera, nag-bubolonte rago pag may shooting sa ako mag-camera. So, parang ganun lagi. That's why I got to use the camera all the time. And, it was celluloid at the time. So, it was very advantageous kasi, yun mahal pa yun. So, to be able to given that opportunity to be able to shoot in film. I mean, natural connection with your photography right in the celluloid. Of course, put na mo na tayo jump-dice television before going back to film again. So, what did television come in? Very, very much later. I mean, with television as in, Kusavo na si Eddy Romero dunil. That was another phase. That was actually the time when Peta and C.C.P. were trying to produce na wali metang. But prior that, you were doing television then. No. So, it was really advertising. It was really advertising. With that, they just called on me because I think she directly passed away. It was supposed to be directly and Roddy, Roddy Lakap to do that. They were the ones originally but then directly passed away. So, I think they turned it on to Eddy and then some friends in Peta recommended me. And when I got in there, it was video. It was pneumatic video which was much more. I was thinking we could have shot this in film, right? 16. And that was, of course, in hindsight. Because of the money involved. Ang laki-laki. Yung yung yung ganda pagusapan, yung kaybahan. Kaybahan. At meron ang shift sa technology. Pero we were advertising. Tapos, film. Anong kaybahan? Telling your story in one minute and 30 seconds. So, and then na iba pili ko lahat. Mahaba. Because advertising may exceed. But in time, puro pili ko lahat. We were using celluloid. In advertising. Very expensive. But it gave me the opportunity to be able to use very, very advanced equipment. Vis-a-vi yung local films natin. So, in terms of technical knowledge, may yung doon, nag-expand yung knowledge ko. And then after a while, after 86, everybody started to shift towards video because it became a bit prohibitive. So, video became a new medium in the advertising field. So, I had to learn that. And luckily naman na tuto ko in mga nyumati, in mga betahaman, and all that stuff. Pero, were you one of the people who were disappointed in the shift? From celluloid? No. Diba, amalakin skurso yung change in technology. Hindi naman ako ganoon ka ano yung. Kasi ako, even up to na, diba, I like digital technology. People say, film is dead, blah blah blah. Hindi naman so yung, kasi you shift to how technology comes along. If it's something good and it's good then as a good, as a professional, you adapt to that. And a lot of the well-known cinematographers worldwide have actually adapted to digital technology. Pero, backtrack ang koti sa analog. Analog. So he said, you're surprised, sanoli na ba ito na parang, analog, yung matic. So, what was it like doing a miniseries? Thirteen episodes about an hour each? Historical, right? And then, ano yung quality ng ilaw, halimbawa, o yung technique of others? Difficult time because I knew if I shot this in film, I could have blit in a different way. Exactly. With video. At the same time with video kami, given that, stepped into it, nakahadala lahat, nakalatag na. So, wala akong options to say, hindi, gawin natin anong. In fact, I would have said if you had to go into video, instead of yung matic, why don't we do beta cam, which is so much, much higher para baga, parang ano na siya, high definition ko niya, re, so mas maganda yung quality. Pat, of course to adapt to it and I did adapt to it naman. Yung pag-iila, o kailangan na, bilis. Yung nangyari, parang akskwela rin sa aking nyo. Kasi nung pupunta kami, dahil mahalos, mahikitsamban kami sa, sabikan. Yung di nalakong crew, lahat, after that experience, all of them became gaffers. Kasi, we were working with things that we weren't really familiar with, like big scenes, had to like that, buong kali ng crisolo ko, na parang, para sa, isang parada. So, to adapt to all of that and then we had to make use that, to use like, car, car lamps as my light source and then, car batteries na nakatago. So, ganung classing adaptability, I had to really make use of that and, and I had to approximate, I had to work with red heads and I had to approximate the effect of lighting from a gas lamp. Kasi, ay ang mga tracks, ang mga tracks mo na nakalata. Meron naman, meron naman, yun naman ang maganda sa peta, they, in terms of support, meron naman, in format lang maliacto. Eh, na, it means in format, when I say enumatic, yun, so ay nakarun sila problema, dinidjotize na nila, naging overblown na yung, yung budget to be able to transition into digital, they had to digitize it in cost so much. Yeah. It became so much prohibited. Can you say it, tell us a little bit about your work with Eddie Romero. So, it was really fascinating. I mean, he worked, I don't mean he's slow, but he's thinking when he works, he's like, single-camera shooting, kasi pili ko le, oh eh, single-camera. So, minsan sa, nangit ko lang sa mga artista, parang nandun na, oh, huwag sa way ka, huliti natin to. So, medyo, kasi, sigyotore, sigyotore, nagingit na, but, the format was not, it was television, it was like, botay camera. If you couldn't shot na, that way. He was also new in that museum. It was, yeah, it was a new medium for him. So, it was like a learning. Pero ang dalin kasi, Eddie Romero eventually made digital din, umhabod din siya ng 2000. So, he was really there for a long time. Umhabod siya dun saan na noon. So, that was really interesting. And you, actually, isaka sa pioneers of digital technology, right? Many DVP, you shot ang pagdadalaga ni Maximo Oliveros. What was it like? No one was really shooting feature films that way. And when you got that offer, what were you thinking? It was really an SOS from Oreos. Because we worked prior to that on a documentary in Mindanao. So, like Children of War. So, we had a bonding process. And, Oreos na, I've heard from other friends who actually worked with him. So, he called me and then he said they were having problems. They only had a one-day shoot, so, sabi na, kailangan ibe, nakakuha siya medyo batapay. So, yung nuance na gusto niya panang di niya panakuha. So, I kinda stepped in and sort of shot it. No, it's lucky towards Christmas yun eh. So, wala ko masyad ng trabaho. Before this, did you shoot, have you shot anything on midi-dv of that type? Or, bago rin vasay ito, parang like yung yung matip? For me, it was, I had to adapt to it. But I shot the experiment. Of course, I had a midi-dv camera. But I would only use it for tests kasi we would use it for casting, actually. At the commercial, kakaskam niyang tala niyang midi-dv. So, it was really for that. So, how did you use it sa maximum? Yung panasonic na 24p at but to sa midi-dv camera, still. Analog pa rin. But the thing there is, yung dahil I worked already in film prior to that, I worked with Carlitos before. Pero na yung full-length background. So, it wasn't like I was jumping in with my feet cold. So, okay naman. I mean, kaya lang yung, wala kaming resources. Again, katulad ng ano, di ba yung yung formative years ng cinema laya, di ba, wala hampira. So, yung redhead lang kami. Tawas ko, yung bombilla lang. It's really DIY lahat doon. Pero, because yung a meron akong cinematic sense ng konte. It was good and C. Oreos was also good. And of course, we had Michiko and Raymond there. I mean, if they weren't there, they were able to give us the direction that was needed. So, your celluloid work, siguro, kunting inside din sa work process. You've done historical films like Results at the Peter. Yes. Ano yung style mo ng trabaho maybe in relation to the director, the production designer and ikaw din mismo like, how do you approach cinematong? Of course, di naman sinasabing you're subservient to the director. Pero, there may overall vision sila eh. And then of course the script and the period also dictates what it's like. I mean, for example, I mean, nolly was actually during the gaslight era. So, parang you know, gasera lang, alam mo kung anong pagsakali ay ganun rin. So, like Results at the Peter, kami nintikoy, naging parang guideline namin, yung illustration ni Results, dinitignan yung mata ng iniksamin niya yung nanay. Nanay na. So, it was very a long keros kuro kind of lighting. So, I referenced Vermeer. Okay. So, you light source mo kung Vermeer ka. It was very one light source. And then you have a long, long range of tonalities. So, yung yung more or less in direction na hinabol namin. And even up to now, I mean, like the last film I worked on, I mean, if I'm jumping, again, Yeah, there was also a reference by Japanese and also the framing and ganun kase. So, there really is no, I don't, I try my best to compose. So, we go by the feel of the film and the direction. And the direction, of course. So, siguro kung namin, tanabata's wife, I think many people have noticed, so it may reference to like kind of Japanese imaging, et cetera. So, is this, again, just inside on your work, is this the cinematographers decision vis-a-vis the material or parang do you have long meetings about the direction of Japanese. Well, it did, of course. There are a lot of talks, preliminary talks and ganun. For me, when I picked up the script, I said, he talked about the Japanese and then, love story, isolation, mountain. So, nga ang sinabi nga sa libro, kailo ko, puro mga kagimusya images in 90 nangyari, di ba? Kasi ay, ay gating mo dun mo, ulan. Hindi naman, meron mga nagsina nangyari. Yung na ganun yung camera, tapos pasokin ta o, very kagimusya. Meron, meron, people tend to think, director. We always attribute it to the director. So, for example, Tanabada has this Ozu film feel. But a lot of it is from the cinematography. So, the decision, na ganito ka baba or ganito ka. Baba dito sa, it was a unanimous kind of decision. And I would always, as always, I would say, I would like to bring the camera to this level because you like with Ozu, tatami. So ganun yung imaging na. Parang okay naman, they, so those are the things that, so even with Dukoy or so working with Carlito, so it's been a total experience. So ibaiba? Ibaiba o and also with Direk Joel, lamangan. So again, different experience or with Direk Melchong, so. Maganda pa gusapan yung kakaibahan ng kailangan na cinematography, mitong ibaiba yung director. And your, your, the dynamism that comes out of that, the synergy. Yes. Nde ba? So, sino jyan ang, palagay mo, pinakabagang moong ka-trabaho? Mahirap sabihin. Ako, I try my best at lahat na takabaw ko. Pusy your favorite character. Nde, naman natin takabaw ko. Hindi ko masasagot yun, kasi lahat naman, lahat ng proyekto na pilapasukan ko, pinibigay ko naman, in perspective. Pero yung differences nila, siguro. Aho, di ba yung differences ng, kasi maganda malaman din ng mga nanonood na, ano yung adjustments? Ano yung pakakaiba? Like camera placing ba? Pati yung sapang ila, makokomit ba sila? Gusto ba nila ng shadows? You know, puro ila? Generally, I've been very, very lucky and blessed working with directors who have given me a lot of free leeway because I guess dawa kita bupating na buko. So, parang, batanda na yung, siguro, alam niya ginagawa na. Parang ganoon. Ako naman, siyempre, kailangan naman, di ko nawa abuso yung, pinibigay ko naman ko na yung direction. So, iba-ibang, like, I worked with Direk Melchoglo when we did Lauriana. It was the first, he was also a person. And then, on the first day of shoot, I had two cameras. Sa production designer. So, I see the air. So, iba-ibay yung ano niya. So, mas cinematic yun, I would use long lenses, shallow depth of field, yung ang ganun klasa. But still, being faithful to the period, like, yung Japanese times, yung ganun klasing look. So, merong bay delinated over, shift in tonality. Like, yung first part ng pelikula, na time ng mga hook, mga fifties yun. So, it was more lyrical, barang, old technical or na pelikula. And then, when we shifted to martial law, it was colder. Much colder look. Ayong, ayong, so since you've experienced that, like, from photography to shooting, advertising in celluloid, to dramatic, et cetera. Aning sense mo where we are now? Like, for example, in the beginning of the 2000s, yung pa parang, ah, this is not going to last, masyadong lo-fi yung minidivi, et cetera. How would you assess this saan na tayong ayong san tayong nakarating with our shifts, shifts in from celluloid to digital? Oh, I mean right now, we're very, very up to par with a worldwide standards. I mean, even yung sensibility and visual sensibility tsak ay yung yung language na yung ginagamit. It's too medyok, very good. I really, I admire the younger ones who are coming now. In fact, they're very, very savvy and also, hand in hand with that, it's evolution of, well, digital technology in itself has actually brought up everything and in a sense level the playing field there. Datin nung, di ba, Hollywood lang nandun lahat, lahat ang gamit ngayon, hey, gusto ko lang parang gando, di ba, gusto ko parang stars na do, o may technocrane, may technocrane tayo, yung mga ganun kasi, you had space lights, I mean all of this stuff, we have it. I'm interested to know any notion mo yung up to par. So, is this because mura na and everyone can learn it because I also wonder minsan, andaming kayang gawin technically but is there like the training that you have for sure, yung you've gone through everything and ngayon I mean filmmakers can have it easy so, when you say up to par do you mean because it's accessible or do you see that also we've reached a certain level of expertise that there is a certain level we've raised the standards if you have to say that. I mean before na yung mga pwede na na yung di na pwede. I mean you know things like that. And what for me one obvious thing is like at the start of cinema lahat they would have opportunities to show these films, these entries in SM and as with side by side with Hollywood films and you can see the glaring difference or star cinema or Viva they might see it now you know five, six years down the line kagad lahat na in a lot of times the independent reduced cinemas are much better in terms of well of course content and everything in visual style it's really amazing for me again I'll have to sort of push that I'm sure a lot of people kill me for that I'm saying like film school is actually a really really good factor in improving I mean a country with a film rich film mystery with film school the products that will come up actually pretty good because it's still it's still a medium I mean it's not saying something like it's out of the blue na let's be more specific talking about the particular film na palagay mo you've given a lot and proud of it and what will that be don't worry don't worry they're not they're not watching no no oh my because he for me like I guess I have a very sentimental thing for maximum because of like the camaraderie there the fact that I saw it in the first day of shoot I saw the dynamism we didn't have much but you know we shoulder down and it worked well and I guess the drama and also from a small expectation film it kind of blow it just exploded literally so you did a lot of work with independent filmmakers also yes see you know bosses yes oh with Ellen of course so parang you're open to all this up to now up to now cinematographers perspective do you see a lot of difference because we always speak of sa mainstream sa indie sa indie so did you feel that as a cinematographer that working with independent digital filmmakers is usually different from working with you know cellular industry well di naman it's probably how they tell the stories I mean if you work with Direct Joel of course he's got a certain way of telling story or sir Ed for example telling stories or direct Mel Tronglo or Carlitos and then I work with other directions fuck I work with younger well I have to use the word kids that things to jante I love working that way and because it's not really a major shift that kind of disparity is very obvious in advertising because they're actually specific directors for advertising television commercials and if you come from a mainstream movie it becomes difficult in fact they're only called in when it's kailangan ng drama tung commercial na ito so they'll get somebody from you know like Isma was actually did a lot of advertising work you know and si Direct Luris because there are certain storyboards that actually necessitated that so they called them in but general advertising is so much different it's fast it's like you're selling something in 30 seconds that kind of thing so again your mindset it's different but in cinema indeed it's same in long format and I think a lot of our directors current directors even the established ones they're very savvy too so what do you see of the future for digital filmmaking ano bang palagay mo where is it going that's the future that's the future if you ask what's the future of celluloid cinema that's something I could probably look forward to but right now it's really there's a lot of possibilities na ma celluloid is not dead I mean they're actually dedicated filmmakers right now they still do work in film I mean clantino works in film and other people and they have a standing agreement in Hollywood too for Kodak to produce X amount of footage of stock because people want to shoot in film their set director so it's not totally eliminated parang natikita rin kita dabbling into VR et cetera ha ha ha adiba na it's interesting virtual reality na when I was still doing photography in the 70s I was actually I heard about no holography I wanted to know there was only one school in San Francisco and tuition was an arm and a leg so it became a pipe dream for me but I was very very much interested in holography correct things like that I would say well right now my photography is shifted to that like what I was selling Patrick about I have resuscitated my photography because I do photography initially it's an art form and I've explored that and I've really gone beyond and very very active in that field so can you say a little bit about the photography that you do now maybe siguro a little backtrack is so did your photography stop at any point because you went into cinematography or did it continue hand in hand and what are you doing now well it literally stopped when I got into advertising because like I said it's a demanding mistress and of course you know you have to feed the family I was still a bit young at that time so I had to feed the family so that was really and it was always under the guise for me because that's anatema commerce and art I always said that no it will actually fund my art always but that's the classic statement then then then I'm doing this for my art but never happened but you know it was just again dormant and it just transitioned so when I used to do sequential films because I wanted sequential photographs because I wanted to emulate cinema it transitioned I started in the in late 80s I'm a 78 or so I got into doing single image photographs but I was very much fascinated with La Nuit American I mean day for night so though my images became that way became very dark and then it evolved from there and then I started I was seeing a lot of I was walking on avenues and I would see all this billboards and posters and and they're being torn because after a new there's a new say production of course a poster na papatuhan na yung datay ang ganun renyon so for me that was interesting because it was like you're seeing layers so my work because it evolved from that now our work I tear my pictures I take pictures and I tear it up in fact my printers you know they kid me why do we have to make it nice why do we have to do like archival prints when you're just going to tear it up but again it was like a sense of deconstruction I'm beginning to deconstruct by images so yung yung mga lalim na gusto mong ipasok sa mga ginagawa ma you went into directing too it was yeah so you have Maximus and Maximus yeah and I did a short film 2009 yes and I did a short film so tell us about it well for me it was actually a script by Jim Flores and it was really more of like let's just do this so parang pero ano paano ka na convinced na mag-change hat well in day he said kaya mo yan it was more of that it was more of a dare rather than a total commitment on my part there was of course total commitment but it was really more of that na fact that you do commercials I mean you can do it so it was more of that but again it was circumstances but I feel it's still good I mean the content is there and it's a pretty good and right now I have a short that I would probably do move into a feature because it was a short film that was like a post apocalyptic thing and so it's like it could be a episodic so I can I was telling our friends eh I do this, I have these actors next one I'll change another actor another scenario so that when you show the completed film it starts started so this short film is a new word na dito pala sa sa likod na sa mind mo pala nto or is it already starting up na nagawa ko na nagawa ko na yan ah it's called apoc for apocalypse oh wow it's a like post apocalyptic thing na it's really jake bakapagal and it's really like a story where families dying babablan and he has to exit out find food and the environment is already polluted and he and he eventually in a sense kills himself because there's a vision like di ko na kailangan ang liwan kasi mabuti na mabula kisa sa malunod sa bulig ng kapatayan or something so when are we going to see this? oh it's here it's there I have it so pero ang interesting na na sa pero part pala yon ang gusto mo nga gawin well it's it's a short film but it's something that is like open ended he just put another story like the next one I was thinking is like post after he goes out and dies and then the post one will be matanda na like 50 years after it picks up a tablet and that's the last scene the last scene of the first film will be the first frame of the that's succeeding pero can you tell us a little bit about that so parang I think you're very excited about this short film well that's the director so parang when does this like kick in ikaw yung director hindi ikaw yung cinematographer but rather so what excites you well for me a short film was good because it's I worked with Jim Flores and it was good I like the way it was treated and I liked and I shot it and I played around with it like my I did a lot of post work like parang the imaging became very very experimental I put a lot of textures and I used also illustrator who was hanging out in the film at fine arts and he does like anime so it's scenes that were very dreary but incorporated animation well illustration with live action I'm listening to you because the way you describe you describe your photography in your short film may excitement then well yes there's something about that so it's all amount like I said there are different levels of satisfaction working with long films I'm very much interested in fact well I'm looking forward to doing another one in January some people all live and I'm excited about that and in the same sense I'm excited about doing other things like well doing photography doing further explorations because my photography now incorporates video if you have or cinema or film because I've always said that cinema is moving pictures right moving images say moving images this is still images so it's still theoretically photography but I've incorporated that now with my tearing series where it's like inner dimension so I've been exploring stuff where like in cinema breaking the fourth wall that's what I do with my photography now so it's it's things that are happening outside the photograph now that really fascinates me you mentioned earlier yung like film school your film school reference and maybe it would be great to know for the viewers that you're a teacher you've trained a lot apart from your active practice you've really trained a lot of cinematographers and continue to do so in different forms such as in UP Film Institute and workshops can you tell us about this side of you bakit ka excited magturo bakit all the students of yours that I know have very fond memories of the workshops that you do well for me I'm excited because again what primarily one of the reasons was of course my wife always says I talk too much so hindi mo lang gamitin niya so also it's a sense of I hate to you sound but like paying it forward I've had all of this knowledge and I've worked so much in advertising I've had material comfort I've enjoyed material comfort and all that stuff so it's a matter of sharing and it was really a habit of me when I my habit when I was even in advertising with people with the crew tell them you know I'm asking these things because of this so it was in a sense already like learning for me so I felt that hey I could share more so that is also one of the primary reasons and again I'm very grateful for the Film Institute for allowing me because I'm sure you would know my history well I mean it's really more of a practitioner's point of view but it's really again it's true it's a passion that you'd like to do I'm sure like everybody all of us share here I think we'd like to hear you or tell us or tell the viewers ano yung ano ang pwede mo sabihin para sa mga filmmakers natin so what are your billing ano ba ang mga billing mo sa mga filmmakers atyaka photographers well ako primarily is like for me if you enter into a medium that you'd like to do it's nice to know the foundation I mean that's something that my dad used to tell me because when I was young I wanted to do all of these things he said for you to break the rules or for you to do these crazy things in photography that you want to do you have to know what the foundation is you have to know what classical photography is salon type landscape sport you have to know what you're breaking so essentially that's also what I like because right now my lament is we're in a world in this world of so much information and you're not seeing it being utilized it's so tunnel vision now everybody wants to be like as you can see I want to be a cinematographer it's just like it's like going to a fast food place and you know I want the top si log it's not it's like that's the thing that operates a lot of people good cinematographers they're passionate about what they talk about I mean a lot of the people I worked initial people I worked with or trained we would discuss about films see it's not like okay the camera what lens are you using blah blah blah I'm a technophobic I am aware of technology but I'm technophobic for me if that's the thing that supersedes everything else then there's something wrong and then we can might as well just be scientists and just dance test lenses and everything but you know it's really content it's a passion it's a heart it's things like that it's storytelling of course yeah so it's really more of that but you know I think in technology we're already okay I mean we've got the latest technology people are immersed they're exposed to it and they get immersed in it but I guess the storytelling the scripts that the stories you know the heart I mean like a filmmaker or a cinematographer it's not necessarily just a technical person I mean you're actually a lot of things you're an optician because you need optics there you're a scientist because you love music you're a musician you're like can you hear them you're also you love poetry you love dance it's really it's a totality that's the one that creates your foundation and that's the one that also makes a difference in this particular if you have to use the word cinematographer from the other one so it's really I totally agree so may lalim may buu-shaif if it's a holistic point of view as well of the artist so ni siya parang pigeon hold na trabaho oh and it's interesting because like with the ASC the American Society of Cinatographers I had an opportunity to be well to take a workshop there but also to know them social nights and stuff they're very sharing people and then there's a mix of very old people very young people but there's a mix it's not like hey I'm doing this show blah blah blah I'm using great lenses no they're not they're just talking about other things and that's the amazing thing there you know like naps way of sharing your excitement parang that's important in what we do yes and I'm excited and you have to maintain that as you go on and well I think it's about time that well thank you for being with us pero tayo lang ito ito you have to go with this experience ito na naman yung medyo parang slum book slum book slum book questions ito yung slum book questions ito yung slum book questions I'll start Patrick what's your favorite local movie this is do I have a time ang movie list or just a few words oro platamata foreign movie 400 blows wow ok siya naman ang paborito yung artis tang lalaki local oh I like Salimann because he's a friend ok how about babay actress uh wow si miss pie ok ok, ako naman who's your favorite foreign actor foreign actor uh heart pinang papawisang anapa oh nga ay oh nga ay um gary oldman ok actress um melstrip ok siya naman paborito yung Filipino director wow pwede pa tayo nung pastiyo ha ha ha ha ha you mean at to admire the work to admire the work yaw si Lino of course for me how about foreign director tagal tagal ay nung ay nung siya nung ba well philini philini how about cinematographer local or foreign yung panang you admire the work uh bitore stararo ok ok nung ba ok favorite food favorite food pa tayo nung oh nga ay oh nga na ok dipali siya i'll give you time well uh fast food siya nung um oh siya i will not i will not give you clues ala well you don't like food no i do but again because of the work before i wasn't really into food so i like japanese food actually because is sashimi sashimi alright ok kung pet cat or dog i have both oh you have both something that's your favorite get away location dumagete oh nice ok so anong pinakinggamon naman ng music stranger kasi nagbula ko sa rock kasi so lat kami rock and roll right now i'm very much into like classical because again of my parents and i like well hindi naman torch songs but i like songs like balance balance ok actually ang ganda na nasa jingle siya right so all the all the major it's it's really primarily age o ito nap anakalagay dito what do you hate most yung pinakayaw mo that it cannot be done perfect way to shooting location something that is new to me and i have all the tools that i need are you the outdoor big set up or indoor i'd like working indoors kasi i have better control of light light is very important for me ok great thank you nap thank you manaming salamat rin manaming salamat salamat nap sa pagpaponlak mo sa amin ngayong araw at salamat sa ating mga manonod sanay nakapagdagdag kami ng kaalaman at nalibang naman namin kayo sa lob ng isang oras tulad ng dati mapapanod nyo kami sa tvup.ph hanggang sa muli ako si Patrick Campos ako si Dr. Grace Xavier Alfonso at ito ang Sini Pinoy