Spanish cinematographer Alberto Bañares’ unerring eye and passionate involvement with all things visual have won him a reputation as one of the top hands in his field. Bañares’ style—driven by a singular flair for creating evocatively composed shots that deliver a communicative impact—enhances any film, video or television assignment, and is distinguished by a consistency of tone and rich atmosphere that is irresistible to any viewer.
His immediately recognizable, arresting technique seems like the work of a dedicated craftsman with generations of deep experience, but the astute, ambitious Bañares achieved this striking of level of quality while barely out of his teens. At age 18, the Barcelona native was studying Economics when a sudden realization took hold.
“At university, I realized quite early that my future wasn’t behind a desk,” Bañares said. “So I started writing and taking photographs on my own while studying International Business. I did a small 5 day course on script writing, and was completely astonished by what I saw and learned. That gave me the courage to move straight to film academy in 2003.”
“I studied at one of the best film schools in Spain, ESCAC [Cinema and Audiovisual School of Catalonia],” Bañares said. .”It was a very intense experience. After two years, you had to choose your specialization, and I quickly understood that between script writing, directing and cinematography, I would naturally pick the last one.”
“Suddenly, everything made sense to me,” he said. “I was always very attracted to the camera and highly intrigued by light. Cinematography teachers seemed to me more like wizards than anything else!”
After obtaining his degree, Bañares wasted little time. Working as on-set electrician and in camera and light crews at first, gaining experience and making connections, by 2012, he decided to accept cinematographer jobs exclusively, and in 2013 prestigious talent brokers L’Agence were representing him throughout Europe.
His recent job as director of photography for a commercial from a high-end German auto maker, the striking, effects-laden Audi: The Invisible Man. The spot, promoting Audi’s pilotless vehicles using the famed horror character as protagonist, mixes wry humor with impressive visual effects and epitomizes Bañares’ signature combination of creativity, problem-solving and technical prowess.
This was no simple task. “As a DP my role started some weeks before the shoot,” Bañares said. “This was a highly technical project for all of us, so starting the preproduction earlier than normal helped us to arrange meetings with Metropolitana, the post-production house, in order to understand their needs and the way we were going to shoot it.”
“It was a highly technical job, for sure,” director David Verges said. “To create an Invisible Man we had to shoot different layers of each shot in order to remove the actor who was ‘performing’ his moves. We used a Motion Memorizer which required us to be very accurate during the shoot as well as having to mentally “compose” the shot in our mind from the different layers we were shooting. Alberto was very helpful in this regard, as his comprehension of the technique was complete. He also has this natural quality that puts everyone at ease and is greatly appreciated by his crew and the rest of us. “
Bañares’ holistic grasp on the assignment’s complex challenges proved invaluable. “We had to be very adaptable during the shoot as we had to bear with constantly changing weather,” he said. “We had determined to shoot the main table scene during the morning but we had extremely grey skies so we had to go inside the house meanwhile the weather improved.”
“After several hours we realized that the motion memorizer shots took more time than initially thought, so we had to be very quick with any shot that didn’t use this tool,” Bañares said. “Being fast on set is something that no one teaches you when you are in film school, but after all these years as a DP I’m very used to have a high-speed on set plus gently pushing everyone in order to keep a good pace.”
The results, thanks to Bañares’ formidable skills, were nothing short of spectacular, and the spot generated significant buzz in professional circles
“Due to the unique creativity of the Audi commercial, it gained a big reputation amongst the family of filmmakers,” Bañares said. “I consider myself to be a useful asset no matter what. I like to help my directors get what they want, but I also want them to know what I like and dislike, which elements could be improved and which ones must be improved.”
His flexibility and instinctual grasp on how best to complete a shoot have allowed Bañares to rack up a spectacular roster of achievements and placed him at the forefront of the contemporary DP community.
“DPs must dissolve their egos within the director’s ideas,” Bañares said. “Sometimes a DP must be like a medium or psychologist, in order to be able to understand the director’s vision and their original vision of the project. When it’s fiction, I like to talk to the director as much as I need so I can see where everything comes from. Once I get their original idea, I subtly transform it into a light and camera concept. I love to communicate and express ideas using my tools, it’s such a rewarding process.
“Lately I’ve been quite attracted towards creative serendipity and subconscious intuition,” he said. “In order to operate the camera in a genuine way, I’m constantly exploring different, new ways to reach that state. I love that too.”
His rare mixture of technique and aesthetic sense qualify Bañares as a force to be reckoned with. “I’ve known Alberto for years but we hadn’t been able to work together until this one,” Verges said. “I was very happy to have his good taste and discerning eyes in this project. He was very focused and he always brought a creative input to each shot, to each take, in order to improve it. I’m looking forward to collaborate with Alberto on future projects.”