Vipul Bindra: 0:04

Hey Nat, thanks for coming on this podcast. I really appreciate you taking the time out of your schedule. You come straight from Colombia here. I mean that's awesome. So how was Colombia?

Natalia Gonzalez: 0:14

Well, there's three years that I actually done being there. This couple of days was like 20 days that I spent with my family and, obviously, looking towards the past that I had there and you know, like finding out those parts of me that I kind of changed. Well, I mean, when I start living in the United States, I believe you have to adapt. So I did, and now, like going back home is kind of like, oh, I changed a lot, like wow.

Vipul Bindra: 0:50

So that's so incredible. So, and that's exactly, see, this is perfect. This is why I wanted to start this podcast, so I can have conversations where, you know, it's just two filmmakers just talking and hopefully people can learn something out of it or at least get some entertainment out of it while they're driving, or something Right? So this is incredible. Um, so you spent 20 days there after having spent three years here and we've obviously worked on multiple projects together. Um, how did you see? Cause you mentioned you saw that you had changed, but you don't realize, it right, because you're living here. What did you see? What do you think had changed?

Natalia Gonzalez: 1:26

Well, discipline and now like goal-oriented, because when I was back in Colombia, I was doing my bachelor's degree in social communication and journalism and back in that moment I was never thinking about making films and I just like trying my best to figure it out. What's going on with my life? Younger, I was like, well, let's keep going with communications, you know like, yeah, like if you don't know what to do or what to study, just go and go for communications or journalism, because it's really open At the end. It's kind of like something that is related to everything.

Vipul Bindra: 2:07

Yeah, no, I had a very similar journey because I, you know, I said I I was growing like you grew up in columbia, I grew up in india and the closest thing I didn't want to leave my hometown and the closest degree at the time there was not a film degree. That's what I wanted to do and the closest thing that I had was a bachelor's in journalism and mass communication.

Vipul Bindra: 2:25

So that's what I ended up doing, because, you know, cameras are part of it, but I had to do other crap that comes along with it, but all I wanted to do was just the camera part of it, because you know they teach you camera and you know all the other, editing and all that part of it.

Vipul Bindra: 2:39

So that was kind of interesting to me that you know you were doing a similar degree. That was kind of interesting to me that you know you were doing a similar degree. Yeah and um, so what brought your interest in filmmaking? At what point did you start to think like, oh, I want to work in either movies or corporate video or whatever, like something to do with cameras yeah, uh, first of all, I believe that when you start communications, uh, they also show you more broadcasting stuff, not film actually.

Natalia Gonzalez: 3:04

So when I I started it a couple of months ago and like semesters after they started telling us what to pick on, so I pick on a class for criticizing films or something like that, and I say yeah, of course, and I start looking on that. And I and I say yeah, of course, and I start looking on that and I have a pretty good teacher his name I don't remember his name, but he was amazing and he was teaching us different films and he said, okay, let's do a little, uh, summarized, uh critics, critics by your own and send it over and we kind of like start thinking about different things. So, for example, a camera department, production design, um, you know the type of storytelling and things like that. And I started thinking like, hey, I believe that I kind of the character with a bunch of uh symbolism in one film and we did I remember I did it for blue, blue jasmine okay that that movie, uh, that movie is really good because it it's showing up the uh, entire entire crap that the character had inside.

Natalia Gonzalez: 4:27

And I was like, whoa, this is really good. And after that I was like, okay, the next class. They say, okay, let's do a little short film, and I did it with some friends. But the part that I don't like is that some of the girls were into more like journalism and they just have that class because they don't have another option for a reason, and they were like no, I want to do some drama and blah, blah, blah, and I'm like, fuck it, I have to deal with these girls and I want to do something like a darky shit.

Vipul Bindra: 4:58

So what did you end up making? So did you make something fun?

Natalia Gonzalez: 5:01

No, we did like a drama based on two girls that are, I mean, it was not that bad.

Vipul Bindra: 5:08

But yeah, but I mean, you did get to play with cameras though oh yeah, so at least you got to get some interaction with it. Is that what? What do you think then? You sparked that, that where you were like oh, maybe instead of journalism I'm gonna go into more proper, you know, filmmaking or whatever videography.

Natalia Gonzalez: 5:30

I believe that after that I just come up with other friends and we made two films like short films and I come up with this idea with a friend and I was like, let's do that and I have it actually on my YouTube channel. I mean, first of all, it's my first thing like one of my beginning or as a beginner short films and it sucks a little bit, but you know.

Vipul Bindra: 5:50

That's okay. We all are critical of our first work. I don't even want to show it to anyone, but it was so long ago that we didn't even have, like you know, and I'm not that old but the only stuff my college had was, you know, tape cameras. So it's not that good, but how long ago was?

Natalia Gonzalez: 6:07

this when you did this um short film in school. Oh, like 2017 oh wow. So it's been quite a few years eight, nine years and and after that we do do uh, we did a poem based on life and from there I decided to do filmmaking, and also because I watched certain movies that marked my life and I was like I need to start doing this, because films, from my perspective, is that when you see something and you feel something, it sometimes changed you and your perceptions perceptions and you can act after that.

Natalia Gonzalez: 6:49

So I was like, after a couple of movies you know this well, I don't remember exactly right now- it's kind of crazy, but yeah, but those films that make you feel sad at the same time and, like certain parts of you is like, oh wow, this is me, but I don't know how to deal with this, and I believe, if I'm not the only person, and I wanted to have a certain thing to show to the people that they can change, or whatever. Or you know that you wanted to make this place better for people and blah, blah, blah, but I, I wanted to do that it's still.

Vipul Bindra: 7:26

I mean, hey, that that's a good motive to have you know, uh. So at what point did you decide like, hey, it's time to come to you know america, or what? How did that happen? How did you end up here?

Natalia Gonzalez: 7:37

because of my dad okay my dad always said, like you have to fly out. Yeah, I was like oh, what it means. But he always support me. He's the supportive guy in the family, um, and I I kind of have that parenting side of him. That is always like teaching me stuff and I kind of have this like friendship with him that I don't have with anyone else, not even with my mom sometimes. But I realized that that later on I had another type of relationship with my mom as a woman too, because I'm a little bit like more masculine side of me. I don't know how to explain that, but I believe that I enjoy more being with friends as guys friends that girls, because girls kind of tricky for me. Like it's man, I can't. I can't deal with stuff that are really drama, drama so I I prefer like chill stuff with my friends, you know.

Natalia Gonzalez: 8:38

So my dad is kind of like that and that's why I don't know how you feel about it?

Vipul Bindra: 8:43

yeah, no, you've been. You've been like one of the most chill person to hang out with. So that makes sense now that you say it.

Natalia Gonzalez: 8:48

Um and I didn't tell you that my, my daddy's a psychologist and and uh, sexologist. Oh really yeah that's funny.

Vipul Bindra: 8:57

Yeah, so so did he encourage you. Then what you came to full sail right? Is that how you, what, what your part thing in america was?

Natalia Gonzalez: 9:03

yeah, because of a friend that he that he you. What your thing in America was? Yeah, because of a friend that he had. The funny thing is she was like driving around and she was picking up her husband because he's a pilot. And they come up like around the front of Full Sail and you realize that they have like a plane and they thought it's like a aviator's sort of university and they get in and everything they ask. They were like, no, we're a totally entertainment university.

Vipul Bindra: 9:32

That has nothing to do with planes.

Natalia Gonzalez: 9:34

So yeah, they come up with this CGI planes, I guess.

Vipul Bindra: 9:36

They can make video game planes.

Natalia Gonzalez: 9:38

Anyway, but that's pretty cool.

Vipul Bindra: 9:40

Yeah, I know, but so they told your dad about it and then he told you and I started searching.

Natalia Gonzalez: 9:43

Yeah, I know, but so they told your dad about it, and then he told you and I started searching oh, okay, okay.

Vipul Bindra: 9:46

So that's awesome. So you came here. Obviously you've done a degree.

Natalia Gonzalez: 9:49

I was thinking that I have to do a bachelor's again.

Vipul Bindra: 9:53

Oh.

Natalia Gonzalez: 9:53

But the advisor says that hey, if you have one already, you just keep going for the master's. And I was like, what do you mean?

Vipul Bindra: 10:10

There's a master's in filming and he said yes, it's like whoa let's do that, and yeah, that's great. So now, then you got a master's degree right. So, oh, that's pretty awesome. And um, is that where you met mario. Oh yeah, so our father friend, I gotta have mario on um podcast too, hopefully in a few weeks, um, and obviously I met you, so that's an interesting story.

Vipul Bindra: 10:20

again, daisy, I gotta have her on the podcast. So the way we met and that's and I would love to know your side of the story. So I meet daisy at this event and she's like you know, obviously I'm filming for this chamber and I had sean, who I've already had on the podcast, and we were filming and then she comes to me. She's like hey, you know, I like what you're doing because obviously you know I had an fx6 or whatever in my hand and and she's like I would love for you to, you know, help me with my film or whatever. And I'm like you know, I don't typically do movies. I mean, I've done them in the past, but you know, again, I'm all into the business side of it, making money, and you know there's not much money in indie movies, true, Sad, but true, yeah, sad, but but that's just what it is in corporate.

Vipul Bindra: 11:02

You know indie movies. You don't go there to make money, right? You go there to be creative.

Natalia Gonzalez: 11:06

And I love that.

Vipul Bindra: 11:07

I love the filmmaking part of it Passionate. That's exactly which is why I like commercials because it's like a small movie and I get to do what really I want to do without having to not be able to pay my bills.

Natalia Gonzalez: 11:17

Right.

Vipul Bindra: 11:17

That's what an indie movie seems like, anyway, which is why I'm doing my movie this I want to change what indie movies look like I want to part of.

Natalia Gonzalez: 11:23

I I'm ready to be part of your movie you are definitely going to be like okay, that's a surprise, nobody knows about that so let's not go to my movie yet, uh, but anyway, so, so, so, daisy.

Vipul Bindra: 11:33

And then so I have a meeting and you know, uh, uh, you know we talked about it and then obviously in the movie her budget wasn't gonna match.

Vipul Bindra: 11:41

So I was like, look, um, you know, this is what my rate is and that's my bare minimum, like I don't leave the house before then.

Vipul Bindra: 11:49

But you know, I definitely want to hear her, like, you know, I want to help her and it sounds like a fun project, because what was unique about her indie movie is like she wanted to film these certain parts to finish what she had already shot, and they didn't need a match because obviously our footage was going to look nicer than what she had before because it was older footage and, um, she wanted to shoot it very differently, which is with three cameras at once or whatever right, to get it done actually in one night. And I was told her well, that's right up my alley and I can do it, but obviously we don't have the budget to bring all my crew. So I was able to bring my gaffer, a couple of my cameraman and then mario, who worked with her. That's how I met mario and it was like, okay, we can fill the rest of the roles, and I was like that's great that you know we can. We can make this work actually which is exciting.

Vipul Bindra: 12:40

So I essentially uh, met you on the set of that movie because you were my other, because you know part of my team, because I had, so it was me as a DP, and then I had three because I wanted to not operate, because so many cameras I want to be able to make sure they all match. So I had three operators and me was, and plus an AC that was my camera department. So you were the last person and then the only one that I didn't know at that time and that's how we met. Anyway, tell your side of that story I don't know. What do you have experience of that movie? What do you want to say? Because you and again, if you want to be critical, be critical.

Natalia Gonzalez: 13:13

This isn't.

Vipul Bindra: 13:13

we don't need to. I don't know if we don't need to polish anything, but what was your experience? A meeting me, my crew or just working on that movie in general?

Natalia Gonzalez: 13:24

well, I first got there and I I saw everything the gear and the people wearing, like they were really professional. I was like, wow, these, these people, I wanted to work with these people. Like I'm down for it. I'm already saying I mean they. They basically tell me hey, you have to be, uh, camera c or b, yeah, yeah, yeah, you were, you were third camera, yeah, third camera and I was like yeah, sure, and I met everyone.

Natalia Gonzalez: 13:48

And then I met you and you were like hey, I'm the dp, and I was like whoa, and they were talking a little bit and I and you were really nice. I, I never expect that, uh, because normally dps are really like, hey, don't touch me yeah that that is a case in indie movies.

Vipul Bindra: 14:01

I've noticed that there's a hierarchy. I was talking to literally a guy who loves making indie movies not on podcasts, because you know, this is what I love to do so I'm like might as well record it. But he was telling me the same thing. All he wants to do is make indie movies, but the hierarchy is he wants to be a gaffer, but the way he's learned in indie movies working for free. Still there's a and I don't like that my set. I don't care if I'm the dp, I'm the director or I'm just a pa. There's going to be respect all down the road because you know we're just out here to make content anyway. So that was great. So I'm glad you say that, because I do try to do that.

Natalia Gonzalez: 14:38

I'm like, yeah, you, you were really humble, actually I I noticed that and for being the director of these whole people, uh, working with you and me on a side, I've kind of have the motivation to do good shots. Um, there's, there was a thing that we have to miss in terms of like the clap this this late. The person from this late doesn't count on me, but I kind of have certain shots that they supposed to be on the the same slate.

Natalia Gonzalez: 15:08

That I didn't. I used to record by my own and I have pretty good b-roll on a side no, no, you, you did great.

Vipul Bindra: 15:14

No, your footage was used in the movie it was amazing. I have nothing hey, we worked way many more times after that, so that means it was great work, so I don't want you to. But yeah, go ahead.

Natalia Gonzalez: 15:22

Yeah, after that you were like hey, I love those, so I don't want you to. But yeah, go ahead. Yeah, after that you were like, hey, I love those shots. I don't know what you did. I'm like, yeah, but you kind of like convinced me to work it out with your gear. Actually, it wasn't my gear, but I enjoy a lot what my gear was and it was really exciting and hats off to you.

Vipul Bindra: 15:51

It's very easy because, to be real, everyone there had technically worked with me before, at least in my department, and everyone, um, you know, knew, uh, you know what, uh, like me, yeah, knew what the gear was, how to operate it, whatever, and you know you were coming in blind. So I'm actually really that's why I was impressed because you, you came in blind.

Vipul Bindra: 16:00

If I remember, you weren't even feeling that well, uh, and to do, to be able well and to be able to pick up a camera, to be able to fight through whatever cold or whatever you were having.

Natalia Gonzalez: 16:11

I had a really bad cold. I remember that.

Vipul Bindra: 16:14

Yeah, so to fight through that and to get great shots, which is what matters At the end. We are all trying to create beautiful images and all my expectations from you were because I'm not, I don't know your style or anything was that, hey, we can match the cameras, we can get the angle that we want, because you know your camera is important it's getting the, the other angle, and you know that's it, and you obviously far exceeded the expectation, like you said thank you you were doing great and which is why I was like, oh, we gotta, we gotta connect and meet more, which is why I ended up working with you.

Natalia Gonzalez: 16:44

Yeah, I asked you like hey, can you give me your number please? And Manuel Manuel too.

Vipul Bindra: 16:49

Manuel. Yeah, Manuel was one of the cameras, Manuel was really funny.

Natalia Gonzalez: 16:52

I was like stop it. He was literally. I tried to not laugh when we were recording.

Vipul Bindra: 16:57

I was like shut up, man shut up. See, but we like to have fun, see, but we like to have fun. And, funny enough, even though that was a very high pressure shoot, isn't because we had a very limited time, right? We were filming in the night, and once the daylight comes we're done Like there's no.

Natalia Gonzalez: 17:10

Nothing to work it out later.

Vipul Bindra: 17:12

No way to put the sun back down. Anyway, I think everyone did incredible and it's good to hear that you know you felt welcome Because, to be real, you were an outsider at the time. So it makes me feel good that I didn't make you feel certain. You know, like outside, that you're not part of the team, because that was my goal that you are part of the team and, like I said, at no point did I feel like you know you didn't fit you did great.

Vipul Bindra: 17:37

Rather, I thought you exceeded, like I said, what was expected of your role. So that's awesome, so that's kind of how we met of your role so so that's awesome, so so that's kind of how we met. We did that movie and now you've helped me on. Obviously, the type of work I typically do is corporate and commercial work. How has that been?

Vipul Bindra: 17:51

and I don't know if you remember any of the projects that we've done oh yeah so, uh, I don't know how was that, because it's completely different than the movie, right, because the movie where corporate is really scripted, but this is more unscripted. More events, more live more live, you know right. So how was that? A, the contrast, and B, how was working those with me, I don't know, or just in general, and with the crew and other people?

Natalia Gonzalez: 18:13

Well, first of all, I really have to like say that anytime you plan on something, you think about everything. Uh, I remember when I get there the first time for, uh, I remember it was like a hospital thing. I don't remember what it was whichever one, yeah, but yeah, it was like a live event.

Natalia Gonzalez: 18:37

and I get there, I told you, and then you say, okay, I have the cameras already and you every set, like the settings, and everything was perfect. I was like oh, wow, like okay, okay, this is perfect. And I just moved the camera towards whatever I needed it and then I just put the tripod, I fixed certain shots and you were like, okay, we're filming in three, two, one boom. And you start killing it with the switcher and you just pump it out. You you ask me like hey, are you ready for? Because I wanted to switch between. I'm like oh, yeah, yeah, sure, and like that was amazing, and we have a big screen on the background. That can I can see what, what I'm doing. So that's not typical.

Vipul Bindra: 19:19

That was very so. I do a ton of live events. That was the different thing, so it was from me technically that screen. Obviously, I partner with a third-party company.

Natalia Gonzalez: 19:26

I don't store like a 30-foot LED screen Not yet, but that's you know, that's the yeah, not yet maybe.

Vipul Bindra: 19:32

But that's a part of the you know production company. When the client says, hey, this is what we need, we need live screen, I was like, well, yeah, they're like, oh, we also want to put a 30 foot oh no big screen out there I'm like okay, normally it's fine because we can get a projector or whatever that's.

Vipul Bindra: 19:47

I've done that before but they're like oh, this is going to be outside in the sun in florida I'm like oh you can't see a projector or told me that I put a hat on yeah I was like, uh, okay, well then we can do led screens and they're not cheap. They were like I think it was like five, ten grand, whatever to get that screen there for a couple hours and, um, and I was like I'm happy to obviously call around and get renders and obviously make that happen. So that was really cool because that was the different part of the, the, the shoot. But yeah, so I'm glad you felt that, because I am, yeah, that is my personality, I'm like so hyper obsessed with getting everything right, planning everything, and even though I've done like a live stream, like that, so many times, I'm not playing around.

Natalia Gonzalez: 20:28

No, no, no, you're really serious, especially during live, things go wrong.

Vipul Bindra: 20:32

Anything can go wrong. It will go wrong, so you'd rather be prepared.

Natalia Gonzalez: 20:35

Yeah, but actually with you, anytime I work with you, I never have or I never encounter that I mess around with the footage or something encounter that I mess around with with the footage or something. I kind of have the, the thumbs up on your side that permit me to do my job and those, those kind of things. I really appreciated from you because, as my boss sort of and friend more friendly.

Vipul Bindra: 21:00

I don't like to be boss.

Natalia Gonzalez: 21:02

Yeah, at the time you were my boss because we don't met uh like more right. But now, as a friend, I kind of feel that I am in a safe space where I can be really professional and you can respect my, my skills you know exactly, and no, and that's how it is.

Vipul Bindra: 21:20

Look, I'm very professional, like you said on the set, I don't care you're. You could my you know my wife or my you know friend or whatever, like we're working. But at the same time, I like to have fun, and that's why I like to bring people I know, because at the end of the day, it's about having fun and you cannot have fun with people you don't know or they don't gel with.

Natalia Gonzalez: 21:45

And I mean to with, and I mean to the point we're so good friends now you came to my home for thanksgiving. Yeah, I mean talk about that. I mean I never try anything like that because I'm not from here. So I I try everything that normally americans do and eat, and it was really good.

Vipul Bindra: 21:54

So how was it? How was an american thanksgiving for you?

Natalia Gonzalez: 21:57

I want to know what was your favorite food okay, uh, I love the, the turkey, the turkey that you guys gave me whoa, I don't remember funny enough, it was slightly dry this year.

Vipul Bindra: 22:06

I was yeah, a little bit it went in the oven a little longer. It's fine. I didn't do it, so not on me, but anyway the pumpkin pie.

Natalia Gonzalez: 22:16

I never tried it because I felt that it was kind of weird and looks weird. But you, let me try it. You're like, keep going. I'm like I tried it, it was good.

Vipul Bindra: 22:25

No, it's great, see, I couldn't imagine that so coming again see Indian being Indian pumpkin's not a dessert, like you're right. You grow up, it's like a vegetable, so you eat and I never liked eating pumpkin and my mom was like eat pumpkin. I'm like I don't want this anyway. The point is I never grew up ever wanting anything to do with pumpkin.

Vipul Bindra: 22:44

But in America you know, I'm just like a when in Rome right type of guy. So when I came to America, obviously you got to try everything. And when I tried it for the first time I was like this thing is freaking delicious it's nothing like the pumpkin I've had. Obviously they put a ton of sugar in it they can make anything good here.

Natalia Gonzalez: 22:59

But anyway so.

Vipul Bindra: 23:00

I'm glad you like the traditional American Thanksgiving. Was that your first one or you've had it before Like a proper Thanksgiving type of meal.

Natalia Gonzalez: 23:08

Well, I had a Thanksgiving, but it was Indian one the last year.

Vipul Bindra: 23:12

I never told you that. It was with actually someone from the Chamber of Commerce Indian.

Natalia Gonzalez: 23:20

Chamber of Commerce. Oh, I think Mario told me Mother, am I right?

Vipul Bindra: 23:20

Yeah, yeah, yeah, so okay I know about it, obviously, but I have recorded her before. Oh, really so it's funny you have Thanksgiving, but I don't even know what an Indian Thanksgiving is. You guys had like Indian food.

Natalia Gonzalez: 23:33

Yeah, we did. I ate a bunch of rice weir from the south and then they mix it up with something else and they put turkey on it.

Vipul Bindra: 23:43

That is so interesting. I have never had turkey in india and I'm from india, yeah, but but india is a huge country.

Natalia Gonzalez: 23:48

You know, I believe they already are americans a little bit yeah, so they probably made it.

Vipul Bindra: 23:53

Yeah, yeah, so we I've only had the traditional american thanksgiving. You know, obviously, uh, uh every year, but so that's incredible, that's what I'm saying.

Natalia Gonzalez: 24:02

It was so incredible to have you and mario over and thank you for inviting us of course you know you guys are great friends, you're welcome, and then you know, plus my kids love you, so it's like I don't have a choice yeah, as soon as they found out you were coming, they were so excited because they just want to, just want to meet you. They give me something. I was, I was really nice, was like you made my day, and I was like, oh, you're so beautiful, bella.

Vipul Bindra: 24:27

But my daughters, just you know they love you.

Natalia Gonzalez: 24:30

They're beautiful, yes, but they also know how to make your heart.

Vipul Bindra: 24:36

But see, they love you, so that was incredible. Plus, you helped me move. I mean come on, I mean at this point.

Natalia Gonzalez: 24:43

This wouldn't have happened if it wasn't for you guys.

Vipul Bindra: 24:46

Thank you so much.

Natalia Gonzalez: 24:48

I kind of you know what it's also that I can feel that support from you and you have the same with us, actually from me and Mario he's not here, but he will be. We really appreciate our. I will say it in Spanish, I don't know why, amistad, but it's like friendship in Spanish. Yeah, we had a really good friendship with you, and not only that. I really want to do like the dreams that I think that we can finish and get it done. Yeah, absolutely To become true.

Vipul Bindra: 25:23

Yeah, that's been my thing, I'm telling you, and again, I was like we talked about. It's like, oh, my dream would be one day to have a studio and have you guys come work with me if you want to, obviously you made it uh, but I, I don't know I'm. This is just a space, eventually, because you know, again, we travel for work, so this is more like personal space.

Vipul Bindra: 25:43

I would say I just wanted to have these conversations and this was a great space to do that. But one day I'm just saying that would be incredible to have a real studio. I just can't justify the ROI of it as a traveling filmmaker. You know, I'm like literally about to go on a plane in a few days again.

Natalia Gonzalez: 25:58

I know.

Vipul Bindra: 25:59

So I think I'm going to San Diego or whatever that's great. So the point is like I can't um, I I'm not like home, that much so a studio doesn't make sense when you're you know you're flying and traveling a lot, that's true, um so this was the best I could do, I mean you saw, what do you think about the space?

Natalia Gonzalez: 26:16

I think I mean, first of all, I met the space without being in this space so I can.

Vipul Bindra: 26:22

You're one of the very few people who has that perspective.

Natalia Gonzalez: 26:24

Yeah, I can tell that this is a huge change.

Vipul Bindra: 26:28

So yeah, they're literal blood, sweat and tears, like my handprints, are on that wall behind you? Uh, it was julie's idea. She wanted to hide. You know, put our handprints forever there uh, but no like um, you know anyway like I just wanted to have space.

Natalia Gonzalez: 26:44

That's beautiful.

Vipul Bindra: 26:44

I didn't realize it was going to be so much work, but now that it's finally done and, like I said, I can have these conversations Plus the place, just hang out. Like now you guys can come whenever and we can.

Natalia Gonzalez: 26:54

Oh yeah, I wanted to ask you that because these days I was a little bit doing some other projects by my side, by my own, becauserie's not at home so I was like figuring out when we met again because, yeah, I miss you guys and no, no, you can, we don't even live.

Vipul Bindra: 27:10

What five minutes yeah, we really we live so far from you exactly. I'm like you're not like I've had people come on this podcast driving an hour away. I'm like you, you're, you're about five minutes away. You guys can come whenever I mean hey, plus, you know we're like friends now, so at this point can come whenever I mean hey, plus, you know we're like friends now, so at this point, just come say hi, I mean plus. Like I said, we got to do more projects. This year.

Natalia Gonzalez: 27:28

You know, the funny thing is that I come over here at nine, exactly the time, and I forget what I brought for you in my home. So you say, yeah, go, go get it. And I'm like yeah, sure.

Vipul Bindra: 27:49

Because it's five minutes. Exactly that's what I was like, because I was like she's gotta go back. I'm like no, she's she's right there.

Natalia Gonzalez: 27:53

I uh. Funny enough, we've thrown trash at your apartment complex before, but let's, let's not make that.

Vipul Bindra: 27:55

Oh yeah, I remember that. So, yeah, no, you're literally down the street for me and um which?

Natalia Gonzalez: 27:59

is you can do that and we didn't even know that. It's so funny, are you where?

Vipul Bindra: 28:02

when was it? I think we were at some chamber man, yeah, yeah, yeah and. I was dropping you guys off at home and then I'm like this is exactly where I'm going to buy my house. So this was before I'd even closed on it, and once I showed you, you were like yeah, we literally live right down there.

Natalia Gonzalez: 28:19

Yeah, and you were like, no way. I was like, oh, we're going to be neighbors.

Vipul Bindra: 28:23

Yeah, so that's incredible. Like I said, you were nice enough to help me move because we had too much stuff.

Natalia Gonzalez: 28:28

I didn't realize. You know what. It was a pleasure, the amount of equipment I have.

Vipul Bindra: 28:31

Because, you know, I knew I had too much equipment obviously, but until you start moving, you realize, oh, and that's, after most of it, still in storage unit, still so. So what I'm saying is out. Despite that, it took. So what days to move, I mean. I mean, we were at least that day that you helped me, we were like what 1 am or something?

Natalia Gonzalez: 28:53

yeah, we finished really late.

Vipul Bindra: 28:55

Yeah, yeah, we worked pretty much all day, and that's what four or five of us doing it. So, yeah, and it was what, mario, it was the half of the half of the stuff that you have.

Natalia Gonzalez: 29:04

Okay, he's like what? And then you tell me like I have more stuff and I'm like what? The?

Vipul Bindra: 29:09

fuck, and that's after me getting rid of so much. I even threw away my coffee. I was like I'll just buy a new one, and then it was like never ending.

Natalia Gonzalez: 29:16

I'm like come on, yeah when you move, you realize that you have a crappy shed around that you don't need and it's like like why I come up with this. Because it happens to me twice, because I moved twice and I have to do it alone. The first time and the second one, I had Mario with me, so it was fine when we moved together. It was really good because, yeah, having someone to help you is really good, right.

Vipul Bindra: 29:42

So you met Mario at Full Sail right.

Natalia Gonzalez: 29:43

So, obviously for anyone mario and uh who's hopefully going to be on this podcast later.

Vipul Bindra: 29:49

Uh, some point, but you, you're together. Obviously did you meet mario at full sail yeah, I actually.

Natalia Gonzalez: 29:54

When I met him, I had a long, long time long distant relationship oh yeah, mario was the bad boy that made you break out of the law?

Vipul Bindra: 30:03

No, he never been bad.

Natalia Gonzalez: 30:04

Like it's just me feeling that I have to continue with my life in here and I kind of feel that I have tight my hands tight on Colombia and I have to.

Vipul Bindra: 30:19

So he was in all the way in Colombia, the boyfriend.

Natalia Gonzalez: 30:22

Yeah, oh yeah, wow, I never told you that. Yeah, I didn't know that I'm like, oh you, so you're holding on to a relationship which is fine.

Vipul Bindra: 30:30

I mean again, I don't, I don't know that much about that relationship, so so you were in that and then somehow mario came along, then one of the nicest guys I know, he's helping me write my movie by the way. So somehow, mario was talented enough to make you go rethink your long-term relationship.

Natalia Gonzalez: 30:48

Well, here's the thing At the beginning. I met him in the second month of our master's program.

Natalia Gonzalez: 30:56

He was doing the same program, yeah, but it was funny because in the second, the teacher that tell us to do something regarding to other students in in the whole entire program they were like, oh, almost to graduate. We have like a little time for us to present as um actors, so I have to be in the audition time for that and I was there right and I showed up and I had a really crappy English at that moment.

Natalia Gonzalez: 31:31

I was like really Spanglish sort of. And yeah, I asked them like, hey, one of his classmates like, hey, what is this? And he's like, oh, this movie is about this, this, this, and you can join this role. And blah, blah, blah and I was like, oh, okay, next. And then I continue. And then I tried to talk again with the other guy, but I just blah, and then Mario gets close to me and he said, hey, you speak Spanish. And I'm like, yeah, okay, and where are you from? Oh, Peru or Colombia. Oh, okay, cool man, colombia, okay, cool man. And yeah, yeah, just let me know. And I was like, yeah, sure, and yeah, it was really funny, really chill. And he was like, yeah, and what are you doing here? And I'm like, oh, yeah, I'm from Colombia. And he said, oh, I'm in the same masters. And I'm like, fuck, yeah, can you give me your phone so I can, you know, copy you or something.

Vipul Bindra: 32:21

So you ask his number. Yeah, I always do that because you know I have this masculine part of me that is not like a really girly so I can like join my my.

Natalia Gonzalez: 32:31

I don't know my side with guys it's just my other guy side with guys I don't know how to explain that, but yeah so it was really fun and we, we started hanging out and, um, I was with my boyfriend from colombia still, and then I started realizing that this guy is not going back to like, like my other ex-boyfriend is like attached to colombia and he's going to be there, and blah, blah, and I was like, okay, I think I have to move on and I have to end it up. And then I I let it be and I have to feel from the other guy's side.

Vipul Bindra: 33:04

but it's always like when girls are like oh, this is just a friend in college, you know you're good. No, but I never do no, no, I'm just kidding. That's probably what he thought, yeah.

Natalia Gonzalez: 33:13

I mean, when I met him, when I met Mario, I feel that he's just a friend. I believe that I always have always my friends. Back in Colombia I was living with my brother. I never told you this, but I live with my brother in my parents' house and my house it was like really big. So we have other students from different countries that they joined my university so they do study abroad for six months or for one year, so they stay in my house.

Vipul Bindra: 33:43

You have a lot of exchange students.

Natalia Gonzalez: 33:45

Yeah, exactly, yeah so I learned a little bit of french, uh, german and a little bit of japanese, because I live with people from those countries and then we have really big parties. If you, if I show you my, my facebook, you will see that there are a bunch of french people.

Vipul Bindra: 34:02

to me that's crazy. Yeah, so you were having know parties and meeting international people already?

Natalia Gonzalez: 34:06

Yeah, and my house was the main place where they go. Your parents were okay with that, yeah because my parents never lived with us in that moment. In college, they moved to Bogota, the main city in Colombia.

Vipul Bindra: 34:18

And we just lived together with my brother. Oh, your house was a party house party house. Yeah, it was crazy, it was cool and crazy, but I love it like, it's just like part of that side of each of us when we were young, so exactly so, so that's awesome, so that's cool to know, so obviously, uh, you met mario there and, um, you know rest is history, I guess, yeah, because that's how I've known you guys, since we've been together.

Vipul Bindra: 34:41

I don't know anything before then. Uh, and, like I said, both of you have worked independently and together. You guys are great. You know, as a producer, it can be a challenge right to to hire a couple or whatever, because it's like, uh, you know, and and I I worked with my significant other on sets too it can be a challenge sometimes because, uh, if you had a fight at home or something you don't want to bring that to set, it's that you want to have fun and that's what I'm saying with you guys.

Vipul Bindra: 35:04

It's, I've never noticed anything like, whether I work with you, you and maria, separately or together, you guys are always fun to hang out with and professional, and so that's great. That's, that's just been great on um to do that um anyway.

Natalia Gonzalez: 35:19

So I want to go back to uh I have to ask you, like I know in relationships in terms of job styles and things like that, when I told you that I changed from Colombia my side right, I realized that I needed it for me to grow up and to expect like a good, not only relationship as a partner, but also as my other crew member or something like that, and it's difficult but at the same time it's kind of like a personal side that you you can like fill it up by your own and when, when you say, oh, sometimes they can have problems and everything, but we don't show it up because we are professionals.

Natalia Gonzalez: 36:18

We have to find a side on in between and recognize that every aspect of our lives is kind of like not the same and not brought in everything into mixed it up or something.

Vipul Bindra: 36:31

No, you said it right and that's why I don't judge, because that's somebody who has, you know, had a job with somebody you're together with. People are like you know, oh, that's not allowed, or whatever. And I've never been like that because my thing is, as long as you know and, like I said, I've done that myself as long as you guys can show up to set and be professional and have fun, it doesn't matter what happened at home, Because at the end of the day you understand you're here for work but at the same time again, you don't want it to be awkward at work.

Vipul Bindra: 36:57

You want it to be able to work and, like I said, I haven seen anything and that's why I'm okay with it. It doesn't bother me. Rather, I love having you both on set because it's just fun and it's energetic, and that's exactly what I like. I like my set to be fun but, at the same time, professional. Right. We can. We can work, we can create awesome content but and we can have a good time doing it.

Natalia Gonzalez: 37:18

Why be miserable yeah?

Vipul Bindra: 37:20

because no need to be, no need to be miserable, just because you know, know, we want to be professional, because there's also those professionals who are like you know like I'm too professional, I can't even make a joke or whatever.

Natalia Gonzalez: 37:31

It's too much.

Vipul Bindra: 37:32

Yeah, that's hard to handle too.

Natalia Gonzalez: 37:35

I believe it's because they don't let themselves to be themselves sometimes and they have this like certain feeling that they are not going to be enough or something like that, because of people, whatever. But at the end you have to be yourself and if people like it, it's fine. If not, you have to check on stuff.

Natalia Gonzalez: 37:56

If not or maybe it's not you, it's people or something yeah, it depends, but I have to say that when I first met Bintra Productions, I come up with like, hey, I really want to be part of this, I want to be someone that can join these people around, and when I first met you, it feels like I wanted to do big things. You know, not only oh, like, oh, oh yeah, indie films or something like that. No, like stuff that we both can dream about, like this like talk about we're still gonna do it.

Vipul Bindra: 38:30

Yeah, look, this is just the start, right?

Natalia Gonzalez: 38:32

yeah, it's just the start and it's something that I see when I, when you move here and you say I wanted this, this, and literally when you said that you make it it and I wanted to be around people like this, because it's really hard when people just follow orders and just feel that, oh, it has to be like this or something like that. I believe that sometimes you have to do what you wanted and remember your values in order to get what you're wanting to achieve, and it's specifically not only because of the society say it, or because of your parents say it, or whatever other person say it yeah, no, absolutely you.

Vipul Bindra: 39:14

You know you kind of touch subject that's very important to me because you have to make it happen. It doesn't happen for you. I'm tired of listening to people, you know well, I said tired, I just don't listen to them. But you know, people are like, oh, it's't happen for you. I'm tired of listening to people, you know well, I said tired, I just don't listen to them but you know, people are like, oh, it's not working for me, or they just make, keep making plans and I'm doing it.

Vipul Bindra: 39:31

The truth is, you know, now it doesn't happen every day. For two years I was like I want a space, I want a space, right, but it wasn't going to happen. And finally, when it been, failed, we were.

Natalia Gonzalez: 39:40

Yeah, failure is something that is regarding to this successful environment, because people is not allowed to succeed in terms of failure.

Vipul Bindra: 39:52

You know, failure is the key for success and sometimes it's kind of remember it's not it all, it's only failure if you stop trying. And then the the good things, for example here, like you saw, I'm the type of person that if I'm saying, I'm going to make it happen. So when I finally got the space which was part of the reason of getting this I was like, oh, this is what I'm going to be. And then you know, obviously, like you say, it's happened now that we're here somewhere to store my gear, you know, and make these, you know, little podcasts or whatever. But the other crazy thing is it wasn't that easy, because two months, you know, like I said, it took, or whatever, to make this happen.

Natalia Gonzalez: 40:30

Um, like I said, it wasn't easy I wanted to ask you that yeah, so a lot of people don't see the challenge in it, because it's like, oh, nothing can be easy.

Vipul Bindra: 40:37

It's like, oh, you dream up first, right, like you. You say, okay, so I'm gonna make um, you know, I don't know, shelves here and this is where the equipment is gonna go. And then you realize, oh, it doesn't fit or or something. Uh, you know isn't right, or whatever the point is. You have to then figure it out, like here we want to put this wall.

Vipul Bindra: 40:54

And then it's like oh, there's an outlet. And then you call a company and they're like oh, it's going to be two thousand dollars to just move a tiny little outlet. So you have to kind of go, uh, that doesn't make sense. But at the same time, what do you do then? You have to solve a problem.

Natalia Gonzalez: 41:06

Either you the way is, you know you come up with the money or youtube, or you do youtube and you're like how can they be an?

Vipul Bindra: 41:12

electrician and move this and do in five minutes, you know. Anyway, point I'm trying to make is it wasn't easy. Every little thing was a challenge and plus, you know, this isn't like a public space. So I'm not trying to create like um, you know, um, you know space for public. Then I'm like, oh, I'm gonna have roi, I'm gonna have people renting this or whatever this is my space to hang out with my friends and video professionals.

Natalia Gonzalez: 41:34

Yeah, I have a question for you how you become the person that you are now?

Vipul Bindra: 41:40

oh, that's, that's a loaded one.

Natalia Gonzalez: 41:41

That's dave, that's fucking dave I don't know.

Vipul Bindra: 41:44

I don't know, what am I right now? I I just know this. All I knew growing up was I was different. Right, I grew up in an environment where, you know, I wasn't I wouldn't call myself a nerd but I was a geek as in like, I loved technology. I loved internet and the latest and the greatest and everything and youtube. Before youtube was huge, like, I was the guy on youtube and you know anyway, point is like or anything new on facebook when it right launched.

Vipul Bindra: 42:09

So I was always at the forefront of things and I realized people around me didn't care, right, so they were, like, interested in other things, which is fine, right. Like I was in into formula one before other people were into formula. So, anyway, I I had these interests, right. I was a kid loved video games, which is common but then I love formula one, I love cameras, I love technology and a lot of people around me didn't, and so at that time and you know, I had lots of friends and none of them had similar interests.

Vipul Bindra: 42:35

So it's like, uh, well, maybe some had video game interests, but that's just a side thing, that's not like a major thing point I'm trying to make is I felt that I was different right, that there was not that many and I I just wanted to find fellow creatives or you know, because, like I said, what I wanted to do collaboration with and the best thing I could do was at that time is just find other friends and find other people that wanted to create content and just like everyone has a similar story.

Vipul Bindra: 43:04

I just found my friends and we were making short films or stupid things or you know just, it's just filming things, and and that was just such a relief, because now you can hang out with people who care about even if, let's say, they don't care about cameras they care about making a story or telling a story or doing something creative together certain shots that we can cover without budget, that's the perfect one.

Natalia Gonzalez: 43:27

Yeah, or just in general?

Vipul Bindra: 43:29

just talking about you know movies that you, because you know again as a movie buff, because I love movies what is your favorite movie? Oh, that's lord.

Natalia Gonzalez: 43:36

I don't know, I don't know, I can't say that, because here's the thing every movie have their own stuff yeah every, every movie have their own, something that is just from the moment, from the past, from that time when they release it.

Vipul Bindra: 43:49

There are a bunch of things. If I had to say, at least one that definitely was very influential was Jurassic Park, Because it came out when I was a kid and then you know, as a kid you know physically seeing dinosaurs, I don't know.

Natalia Gonzalez: 44:01

That's amazing and the sound is really good.

Vipul Bindra: 44:04

The soundtrack right, dinosaurs and I don't know. That's amazing and the sound of the sound is really good. Soundtrack right, and I can still watch it now, so many years later. Uh, I don't know if that's, I would just call it this one movie, but the things I grew up watching was, like you know, harry potter me too um, you know, jurassic park, I mean, that's that's way, way back.

Vipul Bindra: 44:19

Uh, point I'm trying to make is that's the type of movies that kind of influenced me in the beginning. Obviously, titanic is a huge one. They came out I was really really young, um, uh anyway. So I think that is essentially it. And then the biggest thing was getting a job so I I started.

Vipul Bindra: 44:33

Obviously I came to america reality exchange, yeah, and then you know getting a job and, to be real, I worked with disney, which is an incredible, I would say at least, company to work with, comparatively having now seen corporate America, you know but the amount of politics and BS and other things that you have to go through, and all I wanted to do was somehow figure out a way to make money from things I enjoy.

Vipul Bindra: 44:56

Right, because you know, the way I learned about the American lifestyle initially was hey, you work five days, you're butt off doing things you don't like, so you can then have a weekend off and have fun uh, doing things you like. And I I never could connect with that concept why would I? Spend most of my life doing something miserable and then try to adapt because, you know, I, like I said, I'm a ven in rome type of guy no, and not only that, you're from other country.

Natalia Gonzalez: 45:23

you had a new perspective in a country that is not yours, as me Like. We both have this connection also because we're not from here and sometimes it's dealing with the society around is driving us nuts. Actually, I had depression before here. You know, yeah, of course, because I kind of step out of my origins from Colombia to adapt here. But at the end I realized that no way I can adapt, but I have to be myself still. I have to connect with my origins as well.

Vipul Bindra: 45:56

Yeah, no, and mental health you talk about is very important, and that's exactly what made me switch. So what I was going through was I would call mental health as in like. Basically I was going through. Finally, I would call mental health as in like, basically I was going to. Finally, you know, I got a little older and I had money, right, but as a decent job. And then I was like, well, I'm making good living, but what does it mean? You know, like I love video but I'm miserable. I can't do video, because when I come home now I'm tired, right and then the projects I'm working on are indie projects, that point is.

Vipul Bindra: 46:25

And then I try to fulfill it with stupid things. I bought like, oh, I can buy a rolex, let me buy fancy uh, you know shoes, the yeezys, and then a supreme you know what I mean.

Vipul Bindra: 46:35

Like you start to buy mercedes, you know, you buy physical things, thinking oh, I can, I can be happier and as soon as I bought all that things, I was like I'm still empty right, and then the best thing for me was to just leave everything behind, like start fresh with the uh, starting this production company. And it changed my life overnight to be real because there was a lot of forces around me to rely oh, you can't see, this isn't gonna work because you know, I wanted to charge a premium.

Vipul Bindra: 47:00

Obviously I didn't want to make indie movie rates right, because then I wouldn't be a full-time, because I wanted to replace my jobs, money plus more, and I had a very good uh, I would say decent paying jobs, because I had commissions and everything too. So anyway, that that's basically I think so, to keep to answer your short now finally what keeps me, me, I think now is just never wanting to go back to the life I wake up every day, uh, doing, or wanting to do what I love.

Vipul Bindra: 47:29

So, as long as I can keep making money, just doing this would be would be what keeps me happy. Right, I can do this. Spend time with my family, is, and never go back to working for someone else. Uh, is is quite literally what keeps me. I think me now, at this point, had I never worked for someone else, I don't think I would have this strong of a happiness. So I'm glad I went on this journey, even though you know, when somebody would ask me like what would you tell your old self? I'm like I I would not tell my old self to pick this path immediately, even though my brain goes, oh yeah, how huge would my production company be? Because, instead of working for other people that I just immediately started. You know my production company.

Vipul Bindra: 48:09

But then I don't think I would be this happy because you know I'd just be chasing more money. Now I'm not chasing more money, I'm just chasing better gigs because that makes me happier. Now it comes with more money, I'll take it oh yeah, sure, but that's not the goal.

Natalia Gonzalez: 48:22

Right, yeah, but we're not.

Vipul Bindra: 48:23

I'm not trying to chase money.

Natalia Gonzalez: 48:24

I'm trying to chase better fun, more projects and and money can follow you after that, because that's, that's the whole point. People.

Vipul Bindra: 48:32

People don't think about this, but I realized that when I, when I first got here, I never told you that I was working in a restaurant when I was a student here oh, I think mario told me, because I went to eat a restaurant in this area and I was telling him it's like oh, you know, nat used to work here, unless it's a different restaurant, I don't know. But anyway, he was like, oh yeah, nat used to work there, or whatever, and I was like, oh, that's interesting, I didn't know that.

Natalia Gonzalez: 48:53

But yeah, yeah, I have to. That's why I and the person that I become here I believe people that succeed has to suffer sort of, and it's part of that professionalism and it's part of that person that they become. I kind of have that path for now that those scenarios I stand in make me more humble of what I am in terms of uh relationships, in terms of uh professionalism, also in education.

Natalia Gonzalez: 49:32

I never told you that I am also doing um classes for for people in photography oh really yeah, wow, you're versatile, you're yeah yesterday oh no, it was today, sorry, it's today that I had a couple of 60 year old uh, a couple that they wanted to have classes with me because they had a trip in in february to africa and they were like I need to find them uh, because I had a my pro, I create a profile in a in a place called superprofcom.

Vipul Bindra: 50:04

Oh.

Natalia Gonzalez: 50:04

Yeah, there, you can check it out, I can send it to you.

Vipul Bindra: 50:07

Oh, I want to see it now. So that's pretty interesting.

Natalia Gonzalez: 50:08

So you're doing you know quite a few things. I'm looking around.

Vipul Bindra: 50:12

But it's good you're trying to find your. You know, I don't guess your way.

Natalia Gonzalez: 50:15

Yeah, I'm trying to find what I wanted to be in a certain way that I wanted. Not following anyone else's path is just like like putting my base on my own path, as you did. But you know, you, you I don't know, you're a little bit older than me, but it's kind of like my question regarding what you are, what the person you are now, because I think you just have to go on your journey.

Vipul Bindra: 50:39

That's what makes you a person, because you know we can all say oh yeah, like we could have gone 15, 18 years. Oh no, I say 15 10 years whatever.

Vipul Bindra: 50:46

Whenever bitcoin was popular, I was literally talking about bitcoin with everyone and then I was silly enough to say who's gonna pay for this and now we can all say oh, I should have bought bitcoin because it's like over 100 grand or whatever right now, like, but that's just hypothetical right, we can all say, like I said, I talked all day about bitcoin doesn't mean I bought it and you know, and I can't be miserable, not saying, oh, I could have bought it for pennies or whatever it was. Uh, you know back in the day, yeah that, but but to be real, it isn't. It is very important to carve your path but at the same time.

Vipul Bindra: 51:17

It wasn't easy. I don't want anyone to think what makes it easy at at least for me, is I'd rather work 60 hour weeks, 70 hour weeks, working for myself, because it doesn't feel like work. So you work really hard but it doesn't feel like work. It feels like I'm just following my passion Versus. If you do work someone else even 40 hours feels like too much. You're like, oh right, that is the transition. You actually work more. I don't want anyone to think like, uh, by working for yourself, you'll work less. You know you'll work more, but it just that wouldn't feel like work if you're passionate about it. I don't know. I think that's what I'm saying find your passion and obviously, hopefully, if people are listening to this, they actually like video production or something relative to it, like, like they want to be a DP or a gaffer or a grip or whatever, then it won't be work.

Natalia Gonzalez: 52:09

Exactly because you're enjoying it and at the end it's kind of like oh, you're having a hobby right now, but here's the thing when you are starting things that you love, sometimes you don't know how to do it, and before that, when you're in a job, like a nine to five sort of cause, I did uh I start thinking, okay, they pay me my bills and everything. I'm feeling good, but at the same time, I feel like shit because, um, this, this place, is not like. Make me, make me feel that I can grow in different ways, right, and me feel that I can grow in different ways, right. And you also feel this. I'm not only me. Like everyone, I have this feeling that I need to get told what I have to do because.

Vipul Bindra: 52:54

And then they'll say you didn't can't get a promotion because you didn't initiate, you weren't initiative enough to do something. It's like uh yeah, it's counterproductive. But it's like, hey, you need to have a degree to have this job. I'm sorry, a five-year experience to have this job and then they're like uh, they can't give you a job. So it's like how am I supposed to have this experience? You can only get an entry-level job with experience.

Natalia Gonzalez: 53:15

It's your catch-22 of it, anyway the crazy thing is that I I was a teacher in the National Library in Orlando here. To me to get that job was really hard because I kind of have to step a little bit up regarding everything that I did in Colombia and put it in here in that interview and they selected me if, which is awesome by the way, congratulations, I know you did that but that literally brings me to the other thing I want to talk about as you, notice you.

Vipul Bindra: 53:54

It's a rarity to be a film, a female in the film industry or in just corporate industry. I want to say I'm not in the you know real film industry. But in this, in this video business, um that we do um, because again in this podcast you'll see a lot of the people I have like the buddies, you know they're just guys, you know right, yeah, yeah, and it's not by choice like I will hire anyone who's good right or at least work or go work for them. Who's good? So?

Natalia Gonzalez: 54:21

we are diverse here.

Vipul Bindra: 54:22

Yeah, I mean hey sort of yeah, I mean like I, I don't choose to be real that's a I don't know if you're, if you're doing good your job, yeah, that's what matters. I don't care who you are, what you are, as long as you do good, you know we can work together or you're fine and plus you're having fun, hang out, hang out. But anyway, from your perspective, is that harder to find jobs because you're a female, or what have you noticed? Because it is less people who are females working in this industry, right?

Natalia Gonzalez: 54:53

Well, here's the thing, it's not. Well, it's the industry, but you know that there are different like steps in the industry and regarding to the department as well, because I've been seeing that a bunch of girls that are producers, uh, they have to deal with a bunch of things too, but also for first ADs, that they are also females and they are really good at those kind of things. But I'd never like, uh, well, not never, but I encountered that there are not too many women into camera department. So it's kind of interesting because maybe it's not something that they are interested in. And when I've been working with other men, I noticed that they feel a little bit uncomfortable with me because I kind of know stuff that they probably know too, but they are like, huh, I did it in a different way and I'm like, oh, okay, yeah, sure. So I try to not like step in their things, because I noticed that feeling of, oh, you are trying to do my job or something like that, and I'm like, no, but it's okay.

Natalia Gonzalez: 55:58

And I encountered those kinds of scenarios that I felt a little bit threatened in terms of don't touch my camera on, don't touch this, because blah, blah, blah. And I'm like, oh, okay, okay, but that's why I want to work with you at the moment. I met you because you were like, yeah, go ahead. I'm like yeah, and I know how to work with your gear, because I already work with other gear, like an Arri Alexa Mini or Arri LF or you know. Those are way more expensive than whatever other Sony that I actually use, a Sony that you brought and it was expensive.

Vipul Bindra: 56:28

What was it? Fx6? Fx6, yeah that one.

Natalia Gonzalez: 56:31

So, yeah, it's kind of like those sense of yeah, I'm being in that step of technicalities and I don't see any woman doing that too much and I really encourage them to do that because if you do that and you want to do whatever, starting for yourself to do I don't know content creation or whatever you already have everything that you need and you don't need from anyone else to do it for you.

Vipul Bindra: 56:58

So I don't see why. Yeah, I don't want to be one of the people who's like I don't see gender. You know that's just silly, but the thing is I don't want to be one of the people who's like I don't see gender. You know that's just silly, but the thing is I don't understand. Maybe again, and I don't know, the- psyche.

Vipul Bindra: 57:09

It looks silly a little bit, yeah, I don't know if women are just not interested in the field or what, but I'm like, even when you meetups or whatever, there's very few, maybe one or two females, it's just mostly guys. There's very few, maybe one or two females, it's just mostly guys. So I'm like I don't know what it is why there's not women? Because, again, the capability is not an issue. I've seen you obviously work, so you know it can be done. There's nothing to it. It's a technical and a creative job, right.

Vipul Bindra: 57:37

And technical is freaking, pressing buttons, and the creative is, you know, being creative. I don't know what that has to do with gender, this job that we do, but it is something I've noticed and it's not that hard to notice because you go to any filmmaking, networking, you know, especially like a second to the type of work I do, commercial and corporate work. Uh, you will, I will find, like I said, very few females and, um, and you are obviously breaking the, the stereotype here and, uh, you know.

Vipul Bindra: 58:06

So thanks for a second coming and doing this, but um, um, and then you're.

Natalia Gonzalez: 58:11

Obviously it's not nice that you've encountered those things, because yeah, but I, I get, I mean, I, I know it, I I'm kind of like I get it, you know yeah, but at the same time you have to work harder, right? Yeah, so you're getting the same day rate uh.

Vipul Bindra: 58:24

So you're getting the same day rate and hopefully you're getting the same day rate.

Natalia Gonzalez: 58:28

Yeah.

Vipul Bindra: 58:29

And then you have to now go. I know with me. Hey, I paid you this.

Natalia Gonzalez: 58:33

Yeah, yeah, yeah, that's great, that's great. There's no gender pay gap here. Thank you, man.

Vipul Bindra: 58:38

Thank you, but assuming other people are. So not only you're getting a day rate, hopefully the same day rate, but then you have to also work harder because, like you said, you have to not prove yourself, because they're already like doubting you makes it harder, especially older guys, older guys are really like oh, because I have working well, my job right now is like basically DIT or a company for well, it's podcasts for b2b.

Natalia Gonzalez: 59:03

So I am, I have to like set every camera, every lighting there and also have to deal with the footage and the audio and put it back to where I need it and and all of that, and they really respect me and that's something yeah, that's something that I I was like, bro, I need this job Not because, I need it, it's because I feel really comfortable Because you feel welcome, right, and that's what I was going to ask you.

Vipul Bindra: 59:31

So compare me the world of freelance to now having a job and what's the contrast to it. But it seems like also, it's a good job because you're fully in charge. Seems like. But anyway what have you noticed a difference in having a job, but in a job in a field that you like, versus freelance work or some other jobs that you've had?

Natalia Gonzalez: 59:52

Here's the thing.

Vipul Bindra: 59:57

This job is also. I'm a freelance contractor in that job. Well, that's how most jobs are, right, yeah, but it's good because.

Natalia Gonzalez: 1:00:00

I have my own space for my own projects as well, and that's something that I'm never going to feel the same. I mean, I never have that. In the last job that I had, it was the library one. I have to ask for a few hours for vacations, I have to check on my PTL or CP whatever thing, and it was really hard and I kind of feel like I have to work Saturdays because libraries have to work Saturdays, and actually I didn't notice that I was also like a government employee as well, because people pay their taxes here and they pay for our job here, right, and I felt a little bit unsatisfied.

Natalia Gonzalez: 1:00:47

But here's the thing they also have good things there, like they have a film festival, and that's something that I wanted to ask you to. If you wanted to do that we can do like a film festival or something I mean, I don't know, I don't know, I'll let other people do that.

Vipul Bindra: 1:01:02

I mean, mario just did one with the.

Natalia Gonzalez: 1:01:03

Yeah, he did it maybe it's because I'm a woman and I wanted to do it for women too.

Vipul Bindra: 1:01:10

I think you should do it, I'll support you, I'll come be whatever you want me to do, but no, I think the reason I say that is I want to take my movie to a film festival oh yeah, okay, fair, and then I'll bring mine to yours, yeah, yeah, yeah, I'm not gonna say that we're friends, I'm not just kidding.

Vipul Bindra: 1:01:26

Don't tell people that, no uh, but um no, that's awesome. Like I said, you're, you're breaking gender stereotypes. You're doing great work. And now that you're a podcast podcast expert, I wanted to ask you to judge my this thrown up podcast set up quite literally what happened when I started this. Like I said, after years of saying it, I literally took everything in my camera cart in the in 10 minutes and made this happen. So it's not my best work, but hey, it doesn't matter.

Natalia Gonzalez: 1:01:53

This isn't a visual thing, I think, I think either way, what?

Vipul Bindra: 1:01:56

what would you rate this podcast set up?

Natalia Gonzalez: 1:01:59

well, here's the thing. You. You're kind of like saying uh thoughts. That makes me feel that you're overwhelming too much on the set that you work on, and I think that is pretty good based on everything that we did first when we got here.

Vipul Bindra: 1:02:14

Yeah.

Natalia Gonzalez: 1:02:14

And I think that you had a pretty good job here and I feel really honored to be here and thank you for inviting me.

Vipul Bindra: 1:02:23

But you think I did a good job on lighting and everything. I believe, I truly believe, yeah.

Natalia Gonzalez: 1:02:28

I truly believe that I like that, that that the tree. Yeah, I love the tree. I don't know where you get it, but it's beautiful, I don't know. Julie found it and you know I like this environment darky and a little bit of wood is really good. I love the wood.

Vipul Bindra: 1:02:41

Is that what you would do? Oh, yeah, definitely. Okay, well, from somebody you told me that.

Natalia Gonzalez: 1:02:45

So somebody who's getting paid to make podcasts, I really feel good that you like this, yeah because I actually have to set different sets on my job too, and they fill it up with other objects. That is too much, and sometimes you can get distracted, because the space is really big and sometimes people just need to see this conversation yeah, it's a little bit more cozy.

Natalia Gonzalez: 1:03:08

I feel that it's. It's kind of like the environment that you were looking for is not like only the big studio. You just want your own studio at home, chilling yeah no, and I, to be honest I wanted to have real conversations, and that's what that is awesome.

Vipul Bindra: 1:03:23

No, and I think that's exactly what I I tried to accomplish was just a real conversation and I'm glad, uh, you know you like it uh, but obviously we'll change it for season two and I'll get your input on it um, but let's see. I mean, let's see if people want to listen to it. I would have loved to.

Vipul Bindra: 1:03:40

This is exactly what I wanted to listen to when I was starting up, or at least even knew when. I'm like you know, when you start a video freelancing, you go how do I scale it up, how do I market myself, or what do I do differently? And this is where we've been covering especially the other episodes, like exactly what to do, how to run ads or how to sell, and I'm like that would be so knowledgeable. Or just how to find your path or whatever Right, and so, anyway, that's the goal, like that would be so knowledgeable, um, or just how to find your path, or whatever right, and so, anyway, that's, that's the goal and I'm learning already.

Vipul Bindra: 1:04:08

So much because I didn't know. We've known each other for a while and I didn't know some things about you. This is already worth it.

Natalia Gonzalez: 1:04:13

Yeah.

Vipul Bindra: 1:04:14

Yeah, you didn't know how I met mario, yeah exactly, but because I don't know that doesn't come up on set right anyway.

Natalia Gonzalez: 1:04:20

So um, I actually have to say that that when you mentioned about ads and all of that, in my job we have different podcasts that we run out basically for B2B companies in terms of a specific marketing. I will probably send you something and you will check it out.

Natalia Gonzalez: 1:04:44

Look at that marketing um I will probably send you something and you will check it out and you let me know if the the lighting that I did for them and the color corrections that I did is good, because I did the color correction forward to it. Yes, please send me anything.

Vipul Bindra: 1:04:53

Yeah, uh no, this is like I said, this is incredible. Um so, um. Anyway, I want to go back. So, uh, so there's three types of content I think you helped me with. So, um, obviously we talked about the movie, which is, you know, like an indie movie. Feel, obviously we're going all night.

Vipul Bindra: 1:05:09

And then live streaming, which is you're just cam-opping. Now here comes my bread and butter. What we do typically is, you know, talking Head and B-roll, and you did one of those with me multiple days where we were literally like go to the office, set up quickly, get b-roll, get interviews, then get in the car, go to the next location, unpack, set up record, go to the next one. Right, and we're doing that over and over again and that's just part of I've done that sometimes 18 of those in a day it gets, it gets wild.

Vipul Bindra: 1:05:39

So you got to become efficiency is key, right. Uh, because you know you have a schedule. You got to become efficiency is key right, because you know you have a schedule. You got to keep up and some of these people have limited availability because you know they're business owners or whatever. They're their clients. Which is even worse because now you're not only representing your company, you're representing the company that hired you, so you have to do, you know good, anyway, you can't be late, or whatever.

Vipul Bindra: 1:06:01

That's not only harming your relationship with those people, but also the company that you're going for. Anyway, point is, you did that, which is to me, the wild stuff that you do, but that's kind of what we do. Compare that to the other two and what you thought about it.

Natalia Gonzalez: 1:06:22

And which of the three is kind of your style or that you like better? That's a hard question, because I'm kind of like style or that you like better? That's a hard question because, um, I'm kind of like everything we do and I I just wanted to use the camera for whatever filming and the. The thing that I love actually was when we were uh, hearing people's experiences for the interviews. That's kind of like something that I loved, and also the way that we ask them some questions that are really into emotional parts. Uh, I remember in the villages there are people that, well, there are, there are a bunch of people that they talk about their husband when they die and things like that.

Vipul Bindra: 1:06:57

And I'm like Whoa this is really deep yeah.

Natalia Gonzalez: 1:07:00

And those kinds of things are kind of more intense for me. Um, but to hear more, yeah, uh, because I enjoy what I'm doing and and respectfully, uh, learning from others, uh, like experiencing their own lives and knowing that what I have so far and everything that I am achieving is really healthier, that's awesome, so that's a very good thing, and it happens with me every interview you learn somebody's story.

Vipul Bindra: 1:07:28

Uh, but on the filmmaking side, oh you're doing so much more right because now not only because, like, for example, like the live streaming we talked about, you're operating the camera. That's your task, right. But here, not only are you driving, right, you're, you're unpacking, you're unloading and then you're also, you know, setting up now your camera, because I think you were third camera, or whatever right again so you're now operating a handheld, you know?

Vipul Bindra: 1:07:52

I love handheld and then you have to pack up, you know, load up and rinse and repeat over and over again as a filmmaker. Obviously it's hard.

Natalia Gonzalez: 1:08:01

It's hard, you know it's hard because I know I have to have a bunch of energy so, um, how, how did you find that?

Vipul Bindra: 1:08:08

I'm saying like in, in, uh, the filmmaking side of it, uh, anyway, how was that experience? And do you enjoy that? Um, or I don't know how could I make it better? I mean stuff like that. I want you to talk like more on that side, like, uh, how was that experience? Doing it over and over again?

Vipul Bindra: 1:08:25

well, first and problem solving because we went to different places right and every place we have 30 minutes to set up and it's like you know they've someplace, there's no location, so you have to make a location or somewhere. I think we had a sun issue, so we're all trying to. We don't have time to set up a frame, and that's what people don't realize. You cannot judge filmmaking because if you're giving 30 minutes to set up everything, I don't have time or energy.

Natalia Gonzalez: 1:08:47

You know like to go set up for the golfing experience?

Vipul Bindra: 1:08:49

yeah, it was a goal, yeah, and then there was a golf course behind and it's bright and so we had to find the best way to just mask the sun anyway. So like you're problem solving right. So I'm saying on the spot you don't have much time.

Natalia Gonzalez: 1:09:02

It's not like we have 30 minutes to figure it out, we have like five minutes to figure out the problems here's the thing I I believe that when you're a filmmaker in these scenarios with when you have to be really on life and wild and all of that you recognize that you just need to remember the outside and remember that you have to change certain things in order to get the better quality in terms of lighting exposure, and those kinds of things are really important while you're thinking in all of the things together.

Natalia Gonzalez: 1:09:35

So it's something that you experience doing it and you have that experience so you can work it out better in controlled environments. Something else with the filters that I need for a brightness or shadows or you know darker area in the same day, or I don't know. You never control the light, sunlight, so it's kind of hard because you have to deal with that and some cloud is going on and you have everything set in the last minute. You have to change ISO, shutter speed. Well, shutter speed not because I'm using it more for photography, but just for film is really hard because when you're filming you have to keep going with the 24 frames per second and you can't move anything else. You just barely move the ISO and if you do that too much, you will crap it out the entire picture, because we need like a little bit of time yeah, because anything to work it out with that footage.

Vipul Bindra: 1:10:46

So you know you're yeah the noise, and then it also doesn't match the noise on the other camera or whatever. So, like you say, it's huge challenging and that's why I find it funny when people go uh with me. Anyway, and they're like what settings I'm like settings are set. I already decided the f-stop the shutter the.

Natalia Gonzalez: 1:11:04

ISO Anyway you have to control lighting.

Vipul Bindra: 1:11:07

What I'm saying is now, obviously that scenario is different because we couldn't control the sun. You know, if we had time, sure we could have controlled the sun and put more lights.

Natalia Gonzalez: 1:11:14

Yeah, but what I'm saying is Sometimes when I'm moving and we need like a moving shot sometimes to save batteries on the gimbal, I turned it off but we needed it now, so it takes a while to turn on. So you're like oh, my god, exactly.

Vipul Bindra: 1:11:31

You're always chasing and that's what those are, the type of scenarios where you're just chasing. You know the shot and then also um, you know, most of the settings are set, so your your only thing you can change is lighting. You know what I mean. Like, because that's what I wanted. Now, obviously, I do give my operators freedom, like you said, if you have to change iso a little bit yeah, but not too much, yeah, yeah because, because you have to get a properly exposed shot you can't just sacrifice that but an idea.

Vipul Bindra: 1:11:54

But what I'm saying is typically all you can change is lighting.

Natalia Gonzalez: 1:11:57

You have to make it work, because we already decided on everything based on I I'm saying on my end at least for my shoots like this is the look right, yeah, so the look is the look right, yeah I remember when you said, for example, you pointed up different shots for one purpose in terms of one live event and you create like these shots between so you have the wide shot, you have the close, really stream, close up, and stuff like that.

Natalia Gonzalez: 1:12:26

So me, as a camera operator for a wider angle, I have to like be a steady, so that job is chill, but at the same time, if I have to do something else with a tighter one, that I have to catch hands and things like that, uh, it's something that I have to prioritize, right. So those kind of things make me feel that I need to be more creative, because you need B-roll, you need more than just the face of the person talking and that's it. And that's making the difference. That Bindra production is that you have a new value of the content that you did. You have a new value of the content that you did. So in order to get what the client need, but in order that go a little bit farther of what they want.

Vipul Bindra: 1:13:12

So that extra structure is really good. You know the creativity you still add as a camera operator. Like you said, I can, only I can say hey, here's the third angle. But I'm not just wanting, like you said, their face. You know, we want the hands, we the dog the detail, the dog.

Natalia Gonzalez: 1:13:27

They have dogs, yeah, yeah, why?

Vipul Bindra: 1:13:29

not whatever. It is right. And it's the detail that makes the makes your shots amazing right and it's not just the settings, like you said. So that's incredible that you you're saying that because that does, you know, matter and that's ultimately because in the edit we want to have more options to pick from to build, you know, whatever the story that we're trying to tell, and that video came out incredible. But yeah, you saw, you've seen it, yeah, and I remember.

Natalia Gonzalez: 1:13:55

I actually have to say that sometimes we only on a site that we know everything in terms of gear and cameras and all of that. We have to be a little bit of a production designers as well, because any environment that we have to fill up something behind the person object of whatever we're filming, it has to be beautiful or it has to look in certain way that we had a foreground in, in between, a background or something, in order to have that shallow depth of field or that type of sharpen on the person, but around a little bit of that bokeh and things like that, right. So those things are more professional in terms of filmmaking. And that's the difference between broadcasting, because when I work with broadcasting people they are like oh no, no, let's go, keep going and everything is in focus and that's it. And I'm like no, we're filming in 50, over 50 shutter speed and I don't know like. I remember the last time it was like 30 or 30 frames per second or something like that.

Vipul Bindra: 1:15:00

For what?

Natalia Gonzalez: 1:15:00

For broadcasting or 50.

Vipul Bindra: 1:15:02

Yeah, yeah, it's 30.

Natalia Gonzalez: 1:15:04

I use 29.97 when it so they were like it's kind of different and they don't appreciate it as the way. Uh, filmmaking is for storytelling, I'm telling you.

Vipul Bindra: 1:15:15

That's what was my reason to come to america, and you know my dream job was, you know, journalism like well camera and department and then, as soon as I showed up, to the news channels like uh this is not creativity at all. This is this is not what I want at all so yeah, no, no, that's what I'm like. I get it completely, get it, it's, it's and I mean they have a to be real. They have a different ass way of you know what they're doing.

Vipul Bindra: 1:15:41

No, but I'm saying it's their time to tell a story right, but but their story is Really standard news, or? Whatever, it's not creativity that they're being judged on. So point is I, and I'm totally, you know happy for good journalists.

Natalia Gonzalez: 1:15:56

But yeah, I couldn't do it.

Vipul Bindra: 1:15:59

I'm very much like you said, creative I want to choose the depth of field.

Natalia Gonzalez: 1:16:02

I want to choose what's in the foreground and the background.

Vipul Bindra: 1:16:06

And then the biggest thing for me, like I said, because I had to let go of some of this, because I have to bring in creative people like you to handle the camera, so I can now step back and I can look at the overall picture and go, okay, how can I tell the story right?

Vipul Bindra: 1:16:21

And every camera angle, every sound bite that they're giving, every lighting or whatever, or the dog, like you said things you know they're part of the story and to me that's incredible because I'm standing there plus the editing. Obviously I don't want to take out the edit part of it, but we're deciding the story. We could have built that video 500 million ways right, like it would have been a slightly different story each time, and so I don't know. I find that incredible the power of we control the narrative, we build a story and at the end of the day, it's the client who now gets to share with their clients, uh, and they get to make more revenue and more money and get their roi back from it and all we wanted to hear was the client was like.

Natalia Gonzalez: 1:17:06

This video is incredible, like you never expect this exactly, and that's what you want to hear.

Vipul Bindra: 1:17:11

And then now you feel proud because we put hundreds of hours into it, right between traveling there, shooting, editing right and uh and collaborating together and that part, that part.

Natalia Gonzalez: 1:17:23

Uh, I noticed that after I finished my bachelor's degree in social communication and journalism. We're not having a a crew, you know, like a person and another like group around a teamwork. We don't have that too much. It's more like corporate and things like that, that this environment is a little bit wild. But when we are filming something in a professional way, that we're storytelling something that is more into emotional sites and also for revenue, working together is really key. It's a key and that's something that inspires me a lot too, not only because I like photography or cameras or filming. It's more like also the way that I collaborate with people that are able to collaborate, and that's also something that I really love for filmmaking.

Vipul Bindra: 1:18:15

No, absolutely. This is the what 14, 15 years I've been, I've been get physically getting paid, uh, to make videos, and years before I did it for free with friends, right, but what I'm saying is that they're and I'm still saying like I couldn't do this by myself yeah true, a lot of people, funny enough, have asked that question, you know.

Vipul Bindra: 1:18:33

And then they met me like why, uh, you know, corporate video, especially like you making a video for a company, why even bring a crew when one person can do it? And my whole thing is, yes, can one person do it, absolutely, but then so can your, the business owner, pick up a phone and say, hi, this is my business, right, you don't even need then a crew. So obviously you can do it with one person and obviously that one person can go make a creative video.

Vipul Bindra: 1:18:58

I'm not discounting that yeah but when you bring like like that video that we were just talking about, by us bringing, and which to me, still a small crew, it was just what, four or five of us right. Either way, I believe that's a really good like size for corporate, yeah, but then we were able to do things that one person could never do right.

Vipul Bindra: 1:19:17

And then the stories that we're able to tell is is better for the brand, because a their content matches the like, I think, the video we were making was going to be played in an event, a million dollar event right, that they're spending a million dollars on two nights or whatever the event was half a million dollars yeah, but what I'm trying to say is the video cannot be shot by one person, because I don't care who you are right?

Natalia Gonzalez: 1:19:42

No, you need a team.

Vipul Bindra: 1:19:43

How much experience you have. You cannot make a video good enough by yourself. Yeah, you know, good enough. It's a collaborative. I don't care, like I said, how good you are, you have to. The reason my video is that video was great was because it was in my video, it was our video. It was all of us, all the way from pre-production to editing to shooting, uh, us working and, and every like I said we've seen, we're like, okay, so now we have this challenge how do we fix it right? And it was all collaborating together plus, again, a single person. I didn't even know how you set up and take down by yourself.

Vipul Bindra: 1:20:14

Yeah, that many number of times, right, and because you only have limited number of shoot days, limited number of time anyway, the point I'm trying to make is that it's a collaborative art form. Could you do it alone, absolutely, um, but you know, the budget obviously matters too, but at the end of the day, you can do better together. There is no one out there that can do better alone than we can do better together, right, yeah, and one out there that can do better alone than we can do better together, right, yeah, and it's kind of like a family because you feel that not only as a job or like a normal job, isn't, it's more than that.

Natalia Gonzalez: 1:20:47

it's like oh man, I want to, I want to be in this shot, so let me film here. So we, we cut and you, you let this person go right because, because you don't want to ruin their shot as well, like it's kind of like in live events also, there are a lot of things happening and one person can not like cover the whole thing, right? And that's something that is regarding to the way that each person is a world. So anytime you look at, whatever thing you have in front is not going to be the same angle as yours or anyone else, right? So that's also the point that is really important for me to work with a bunch of other people in terms of filming, because, also, you see it in films. You, you finish a film and you go. People don't do this, normal people don't do this but you check on the whole numbers and the whole minutes after the movie, the credits. They have a bunch of people that oh, the people that just serves coffee, what the fuck. But yeah, they work too.

Vipul Bindra: 1:21:53

And they help make it, because if you didn't have coffee, nobody's working, yeah, and the director can be pissed and also didn't sleep, and if they don't have their coffee made, they're not going to do a better job.

Vipul Bindra: 1:22:05

Yeah, and that's the thing, and that's why I'm hoping some people listen to this and understand then, especially in the corporate world, like sure, you don't need hundreds of people, but every single person is important and that that coffee that you bring for your crew is as important. And you have to do that role because guess what? Some people think, oh, we wouldn't need that. Well, technically, somebody is bringing coffee, and if you're not, then your crew is buying their own coffee, regardless. Most people drink coffee and that or red bull or whatever.

Vipul Bindra: 1:22:33

They need something to start the day and be productive, otherwise you'll have a bunch of.

Natalia Gonzalez: 1:22:38

I remember the first time we were going to the villages you say, okay, let's drink something. What do you want to drink? I'm like, I'm not a coffee person, even though I'm from colombia. That's weird, uh. But yeah, I realized that I, you go, we go to some coffee at starbucks? Yeah, starbucks or something, yeah and I, and I pick up the dragon fluff, whatever mango and I was like, yeah, yeah, go for it.

Vipul Bindra: 1:23:01

And that thing made me go to the bathroom multiple times, but it's okay and I don't even know if, like, it helped you with the wake-up part, which is why we drink coffee or whatever, because here's the thing you know. Um, what we do again is very fun and we love it, but it's not easy again.

Vipul Bindra: 1:23:16

It's and also it's very mentally taxing because again you're being creative, technical, uh plus physical to moving all that equipment and um, you know it needs energy and uh, you know, and some people maybe don't need it. Obviously you're naturally energetic, but at least for most people that I work with want coffee they need to love the job yeah, and, and so that's part of the job.

Vipul Bindra: 1:23:38

What I'm saying is somebody's going to have to buy the coffee or bring the coffee. Somebody's going to have to buy food. Somebody's going to, like I said, set light. Somebody's going to set, whether that's one person, whether that's two people, that's three, four people. You know that job is important, right?

Natalia Gonzalez: 1:23:52

And also thinking about everything that can happen yeah in a film.

Natalia Gonzalez: 1:23:57

That's something that I love also for from filmmaking, you have to think about everything that you probably never think that can come up with, or something like that. You have to be prepared. For example, last time we were filming a future film with mario and for a friend and she was like, hey, hey, let's go to these um forest. And I was like what the fuck? Like? I mean I like forests, I'm not, don't get me wrong, I love it. But here's the thing a forest in the middle of July in Orlando, that's really, really hard.

Vipul Bindra: 1:24:31

I.

Natalia Gonzalez: 1:24:32

I have to try.

Vipul Bindra: 1:24:33

I want to travel. I want to know where is the forest in the middle of orlando well, it's kind of like a forest. You mean like the woods, but I mean I get you what you mean yeah, she wanted to go in the middle of the woods. Yeah, in orlando in july. That would be like a nightmare scenario because it was five days of pain, but I finally, we finally ended up, uh, really well and everything, but it was really hard.

Natalia Gonzalez: 1:24:55

And if thinking, about everything.

Vipul Bindra: 1:24:57

Aspect bites uh like a bunch of bugs, weird Florida man. You know who. You don't know who you're gonna encounter.

Natalia Gonzalez: 1:25:05

Oh my goodness, I mean that's yeah, yeah, but it was normal because he she have permission for a lot of things, so it was good.

Natalia Gonzalez: 1:25:12

But sometimes water uh, we run out of the water stuff and it was really yeah, that was yeah, yeah, and sometimes we don't sleep, we have to film at night or we have to film all the night and it was really hard and, um, yeah, it was low budget thing, but we were having fun because he's a friend. So we want to make sure that we're, uh, make it done or get it done for whatever. We're, at the end, proud of what we did right. But those kind of things make me think about everything, make me think about, like multi-tools that I never have to think about as a normal person. If I don't have experience in a film, I don't never have to buy anything like that, you know, or a bunch of gaffer tape. I love gaffer tape. I never want to live without after tape. I, I believe that's that's amazing.

Vipul Bindra: 1:26:04

That's a filmmaker's duct tape, right? Yeah, we use it on freaking everything.

Natalia Gonzalez: 1:26:08

Yeah that's the the better problem solver ever this is in colombia. Well, in in lat Latin America people say the oldest. It's kind of like la vieja confiable, it's kind of like something that you always need, and this is like millions of millions of years that people do that I have like 20, 30 freaking rolls of tape.

Vipul Bindra: 1:26:35

I can never have enough, but they run out so fast too man Right yeah you should invest in a gaffer tape company anyway. No, not investment advice.

Natalia Gonzalez: 1:26:44

But you know what I mean.

Vipul Bindra: 1:26:45

The amount of gaffer tape I buy is kind of ridiculous.

Natalia Gonzalez: 1:26:50

I need to buy some little parts of a company like that for real, yeah.

Vipul Bindra: 1:26:56

But you know that's a, like you said, essential tool. Uh, yeah, but no, you know, that's my main thing. I want people to make money, um, have fun doing this and um, be able to um, you know, make a career out of it. And I'm also tired of listening about you know so many people who are passionate about it leaving this because they couldn't find a way to make enough money. And, and I'm like, there's so many companies out there, there's so many people who need a video made that there's so much work that you can. You know, there's no reason anyone should not be making a good living out of this. So now, obviously, you went the other path, which is interesting, but hey, path is a path you got to. But the other path, which is interesting, but hey, path is a path you found yourself a fantastic job that is in the field, that's paying well and you're happy. Obviously sounds like right. So that is another way it doesn't have to be, because you don't have to run out and just start a production company immediately. Right, you can go work for someone else and, like you said, it sounds like it's really incredible because they're giving you enough time to do your own freelance project, so you can help me or anyone else who wants to hire you as a cam op or dp or whatever, right, yeah, so

Natalia Gonzalez: 1:28:09

that's an incredible path that you you know you took, and I'm so happy for you thank you, and actually, you know, um, the here's the thing I'm not doing my own company yet because I need to learn a lot. I don't feel comfortable yet to do it, and I believe that it's good to have a mentor, it's good to invest on learning, because that's a really huge step in terms of whatever you wanted to achieve. That's a really huge step in terms of whatever you wanted to achieve, and I'm not the I mean, I'm not the the person that have a successful, uh, I don't know uh, company or something, but I believe that for get there to be to be there.

Vipul Bindra: 1:28:51

Uh, you must travel, shoot a lot stuff that you don't know and another path for you is you don't even have to start a company if you since you're a good camera operator dp, you could just make a living, you know being a camera operator dp.

Vipul Bindra: 1:29:05

You don't even have to start a production company if it doesn't encourage you because you know, half of the thing I have to do is, uh, not the things I enjoy, like you know. I don't know accounting hotel booking, I don't know flight booking. You know there's there's a lot more to it than just planning yeah, a lot of planning that.

Vipul Bindra: 1:29:22

That's more than just you know filmmaking, I wish it was most of it and then a lot of times I don't even get to be on set. Like I've talked about people where, like I've hired people and sent them on set and then I'm on a different project so I'm not even on those sets. You know so. So it's a different thing than you know dp or cam op or or just, uh, the job. So how, what? How do you see your future, do you? Are you happy where you are? Um, what do you? What are you looking to do next?

Natalia Gonzalez: 1:29:49

well, I believe that I want to start making more films regarding here's the thing um I for when I first got here thinking about filmmaking and all of that, everyone thinks that they wanted to be director.

Natalia Gonzalez: 1:30:05

I have that path in my mind director dp right, that's what I hear before, before director of photography, I was thinking about director only because I was like, yeah, I have good, have good ideas, but then I I find out that I'm not like a person for, uh, dealing with actors. I can't. But I believe that I wanted to achieve what the directors want, you know. So, uh, that is more um, in my way of thinking it is is really better for me because it's more creative, it's more like the sense of what this person needs for the film and I can achieve it in the way that everyone can be usual, visualizing it Right, and also for different aspects, such as, uh, lighting things and making this uh style that they're looking for right. So that's the magic that I wanted to perceive in the future.

Natalia Gonzalez: 1:31:05

I really wanted to do a really good color correction for certain things before it gets done in post-production already. It gets done in post-production already. So, to encounter that experience and also I know we have to use a lot while we're filming because we need to use the raw file right, but in the sense of this environment, to make it easier for the colorist, or something that's what I want, that's what I am looking for and that's my path. I believe that that's what I want, that's what I am looking for and that's my path. I believe that that's what I want to be a good DP for whatever a director they wanted to achieve, whatever story or genre that they're looking for, or something that's awesome.

Vipul Bindra: 1:31:52

I think you're already mostly there, right? You just need to. I mean, at least for me is when I'm directing, because you know, I'm also dp myself, and I'm working with other people, but at least I have no issue.

Vipul Bindra: 1:32:03

You know you bringing you on, so you're obviously you're doing great work, um, but no, that's awesome, though, at least what I love is that you have a clear. You know where you want to be, what you want to do, and you're obviously on the path to get there and, um, no, that's incredible. And so what type of like are you? You want to do indie movies or do you want to do corporate dp? What type of dp do you want to be?

Natalia Gonzalez: 1:32:29

well, to become a really good dp, you have to do everything. So you learn from it, because you have more experience and you get prepared. Because I did um music videos. Uh, I remember the last music video that I did was in a studio with led walls in the background, and this is this. This changed my way of looking at the the gear, because normally we change, uh, the the lenses all the time To make different sense of whatever we need and stuff like that. Right, but in this environment you have a 3D space in the LED wall that can fit with whatever angle you have on the camera and you don't have to deal with any of the lenses, you don't even have to change the lens.

Vipul Bindra: 1:33:19

I love virtual production. That was amazing.

Natalia Gonzalez: 1:33:21

I was like no way, I can't believe this. And the guy says, yeah, I can scroll a little bit and put it blurry if you want, or I can make it further enough for you to have the object separated from the background.

Natalia Gonzalez: 1:33:33

I'm like what? So I mean, this is incredible, because normally back in the days and also I'm not that old, but I I am younger, but uh also older to notice that the difference in you have changed in terms of the environment. You never changed the environment at that moment. And now you can have the chance so you don't have to deal with lenses as well. But that's, that's something that uh loses a little bit of the magic on filmmaking, right?

Natalia Gonzalez: 1:34:06

Because I like when I say, okay, let's change it to 35, or let's change it to 20, 24, because that wider is better than 25, you know. Or or go for 85, because I really want this, or let's do this insert, because this insert is more into 1000 or no, not 100 or 400 millimeter lens, so those kinds of things. But at the end it's not because of, oh, I'm bougie, I want to change the lens, no, it's because more like into what the story is about, what the purpose of it and those things. I noticed that younger filmmakers don't have that. You know, when they make a film they are like, oh no, I want to use it because I remember that someone else is using it in this film. But they don't realize that the film, the story, the storytelling, the purpose of it is not any. It doesn't make sense with the lighting or something else, you know yeah.

Vipul Bindra: 1:35:04

No, I don't know why people are uh like yeah or motivation, the lighting exactly yeah people do that a lot with like lenses and stuff. Like you have to pick it based on the storytelling. You don't just pick a lens because some youtuber told you you like it or whatever, right, it's a same thing like depth of field.

Vipul Bindra: 1:35:20

Um, people get hyper about like it has to be, like extremely buried behind, and I'm like no, you if, obviously, if you're in a crappy office, I get it, but the point I'm trying to make is like yeah you know, you, you lens is a storytelling tool, so is um, um, so is uh you know your settings and your your f-stop and everything.

Vipul Bindra: 1:35:40

You pick that as something. I usually pick the f-stop before I even ever arrive on set, because I know that's the type of story you're yeah, that I encounter when I use your gear, yeah exactly. I'm like I've already picked. This is what the, the, the look is right and that's what you want to do, as you know it's as a DP or director or whatever.

Vipul Bindra: 1:35:58

I mean, I guess, more DP, but because you're building the look and that's where the lenses come in. Different lenses have different character. So if I'm ever picking lenses that are based on the character that I want, you don't pick the lens because you just like it.

Natalia Gonzalez: 1:36:11

I don't know I don't know.

Vipul Bindra: 1:36:12

I guess it has to match with the story.

Natalia Gonzalez: 1:36:14

Exactly.

Vipul Bindra: 1:36:18

And that's what the art of dp is. You know, you're, you're in charge of camera and lighting and then uh, the other thing is understanding lighting. How many dps I've met who have no idea how to do, at least in the corporate field again lighting and I'm like you're in charge of lightings and they're like that's not my department. I'm like no, it is, it is wait what?

Natalia Gonzalez: 1:36:35

where are you coming from?

Vipul Bindra: 1:36:37

Yeah, now I get it Like. You don't have to like, know every fixture and know how to set up everything. Obviously, you're human, but you got to know what looks good and the look that you're going for, lighting ratios. You know, again, basic stuff, but again it's like nowadays there's so much great information on YouTube but there are also not enough Like on YouTube. But they're also not enough like or maybe too much noise, that people aren't going through because they need to know be able to know what they need to know.

Vipul Bindra: 1:37:02

And it's not just camera, and camera is a very small part of what a DP does, right, because otherwise you're just a camera operator. But no, you say that that it's incredible. So what would you tell somebody who's just starting out, who wants to be a dp, wants to, you know, be a cinematographer? Um, and they obviously maybe don't have that eye yet, right, how do they? Because that's the creative part of it, right? I can teach anyone how to operate a camera.

Natalia Gonzalez: 1:37:27

It's not that hard yeah um, that eye for, for making the image look good, right, is what makes you a good dp um so how do they develop it like what would you say well, first of all, knowing the story, knowing what you're doing, like sometimes having that specific thinking of, okay, what I'm doing is, uh, regarding I don't know drama or something more corporate, so those fields, how you can encounter as, like, a little standard point of view, to work it out from the beginning, to increase what your sense of that thing is and then put yourself and your creativity on it, but not only, as you is just more like into lighting, into the people that is around you. Also, how you can achieve certain looks and, for example, if you need to do, like, an interview for a person that uh, have something regarding I don't know, cancer or something like that, you know normally they do something really sad, or maybe you don't want to do that, but you want it to show more like I don't know this sensitive environment, right? So you find certain shots that are a little bit close-ups or you have to find the sizes, you have to find the lighting, you have to find the person's characteristics that you're filming on and kind of like looking to glow it up with things that they have, and not only them, just the people around. That is helping you with the I don't know the color around in the background or the things that are around. You can work it out with different shots and angles, so it can be a little bit up or down, so it makes different senses. And, for example, the cowboys thing that you look at the guy from downside, you put this shot from the lower, a little bit lower, and looking up, and you feel that this is a cowboy guy, intense, and he have the control of everything and you know, those kind of things are part of that uh, sense of this dp sort of, but not only that.

Natalia Gonzalez: 1:39:50

I realize that nowadays there are a bunch of dps, new dps, that are working with little things in macro lenses and things like that, that can work it out with the the more intimacy on the characters, what they're thinking and things that you're never going to hear, but you will see it and the character is not going to tell you, but it's also there, it's, it's so good, those kind of things too.

Natalia Gonzalez: 1:40:17

So I really wanted to encourage people to realize that when you visualize something and you can think in different perspectives, in points of view and using different techniques, and breaking rules are really important as well. I remember that in some films, such as the Fight Club one, they build the entire set in a certain way that they can use the camera to work it out, with doors that are opening, like three doors around, and things that you are, like not able to think about when you're just watching them, right. So those kind of scenarios, as dp, are really important because, um, you have this sense of what the people is going to feel in that shot, in that camera. Movement also. Not only the, not only the steady shots are important, also the movements, and sometimes that's something else.

Vipul Bindra: 1:41:20

Yeah, in corporate video at least, it's so overused, like the gimbal, because the thing is, the movement needs to be motivated. There has to be a reason for the camera to move. These are the things I expect a DP to think about, not the talent or whatever. Because you're just moving the camera, just to move it, because you can, because it's on a gimbal, I mean, uh, which is why I'm like that gimbal is an incredible tool, but it's become so overused because people are just doing movements, just to do movements, and you have to be um, you know it has to be more creative, yeah, and it has to be motivated by something.

Vipul Bindra: 1:41:53

There has to be a reason why you're going in, out whatever, uh, or fake dolly shot, or jib shot or whatever you're trying to achieve. And then the other thing I I would tell anyone, it's just the the best thing a dp knows is lighting funny enough because that makes your camera image look better.

Vipul Bindra: 1:42:10

And the best way to learn lighting is just wake up in the morning, open your window, open your blinds, open your curtain, whatever. Let the sunlight come in. The best light in this world is the sunlight right and you'd be amazed the type of things you would see. Watch it like I don't know. Create shadows, um, create, um, you know the reflections.

Vipul Bindra: 1:42:30

That's a good one because and now you want to do that artificially because the issue with that is, you know, 10 minutes later those will move because sun is moving and we, we, you're prepared, yeah, and I'm like no, but we don't want it to move because, again in an interview, again my context, what I'm doing I want the lighting to be exactly the same. I can't. If I could, obviously the best lighting would be we could capture the sun and just put it where we like it, uh. But we can't do that obviously.

Natalia Gonzalez: 1:42:57

Uh, you know so and he's also good for the budget.

Vipul Bindra: 1:43:01

Yeah, I can't imagine the budget where you can just hold the sun uh, but yeah but that's what I'm saying, which is why I'm like just as long as you see it, it's one thing to create it, but if you don't know what you're creating, I hope that makes sense. As a dp, you need to first open your eyes and see. Look around the world, you look. Turn off those House lights, open the windows, open the curtains. Look on a cloudy day, look on a sunny day, look just how the light looks. And and the shadows? And the shadows look Exactly. Look at that man, anyway.

Natalia Gonzalez: 1:43:33

I never think about it. Thank you, that's a really good one. I'm glad, but I never think about it.

Vipul Bindra: 1:43:36

Thank you, that's a really good one, but you know what I mean. That's how you look and then what you do then once you've done it. Now you go on a real set. Now you're I don't know 2 pm. There's obviously no sun. If it is, it's harsh. Now you take your I don't know 1200, whatever light you want to use. Now you put it through would be like now I know what I'm looking for. Let me move this lamp, or let me have my gaffer, or whoever is in charge or hollywood it yeah, exactly right, move it.

Vipul Bindra: 1:44:10

Until I'm looking and I'm like, oh, this is realistic, this is what I want, right? My thing is you have to first know what you want, right before you can do it because otherwise it's just happy accidents and sure you can get lucky once you can't get lucky yeah, yeah sometimes you do get lucky. Obviously if you do 50 gimbal shots I'm sure one will come out great. But that's just luck. That's not your talent. You know, if you're talented you gotta.

Natalia Gonzalez: 1:44:36

You gotta first know what you're doing and then this around you that one is really yeah, that's the best, the best way to say it yeah but anyway, I'm just saying like it's all around you.

Vipul Bindra: 1:44:47

It's free, you don't need to buy any lighting course. Just just open the window, open the blind, just look the world around you and then just try to practice to recreate it. But as soon as I think you learn good lighting, your images will just start to look great. And then, if you want to work in my field indie movies are good already, but if you're not, we want to do corporate now you learn how you can do that in 30 minutes right 20 minutes.

Natalia Gonzalez: 1:45:11

That's the, that's the challenge, right? Yeah?

Vipul Bindra: 1:45:14

uh, which is hard to be real. Sometimes it's hard because, um, you have to make compromises. I'm not a fan of that, but you know, sometimes you only have like hey, the ceo is going to come in 10 minutes, like that's what you have. Or, the worst case, you go into a building for, for a company or whatever, and then all they have is boring offices because you know, it is the, the, the entire environment is just office after office after office. And all of them are ugly.

Vipul Bindra: 1:45:39

They're brown colors you know, so now you have to make it look good or whatever, because you don't have time. And even if you did have time, at that point you're like I can only do limited things because actively working you know there's customers coming in. The point I'm trying to make is it becomes harder, becomes harder, right yeah, to make it look good, and then that's where your creativity comes in. What? In the gear and the gear too is important.

Natalia Gonzalez: 1:46:03

Yeah for example, when when you motivate lighting right those things are really important.

Natalia Gonzalez: 1:46:09

When you well, here's the thing you say mention something regarding the new filmmakers, that will gonna be the, the piece or something. And yeah, lighting is also another field that I wanted to talk, more, as you see, of the sun. Thank you for that. Actually, when you take some shots in an office, especially in offices, that is really hard to maintain that uh boring style to out of a little bit, you know. So we find out that we can work with a backlight, that is, it has to be motivated at the same time with the whatever lamp they have around, because if you just put a bunch of lighting from no reason, without any motivation, from whatever source, it's kind of empty, it's kind of like banal. So those kind of things, too, like, are really important.

Vipul Bindra: 1:47:00

To figure out. The other thing is that they have this nasty tube or whatever lights. They make people look ugly. I don't know what lighting they're putting in offices. I don't know if you've noticed that.

Natalia Gonzalez: 1:47:12

It's like figure out if you can turn it off.

Vipul Bindra: 1:47:13

I mean just doing that would obviously light up yourself. Turn it off, I mean just doing that would autumn and obviously light up yourself. But what I'm saying is just by turning off lights, you know you're making the shot so much better because I don't know what green hue or whatever crap, and you can never deem it down or something whatever, yeah, they have, but well, yeah, what I'm saying is it's, uh, the quality on those lights is so low.

Vipul Bindra: 1:47:35

I mean throw, not that it's necessary. If you put a color meter at them, it's. The quality on those lights is so low. I mean throw, not that it's necessary. If you put a color meter at them, it's, they're ugly yeah, anyway, yeah so the best thing you can do is just turn off those lights and then light it yourself that by itself is already going to be so much better, uh, but no, they're.

Vipul Bindra: 1:47:51

They're making our job harder in corporate world purposefully putting ugly, lighting ugly rooms, ugly everything. And then I've had conferences covered. Man, these hotel conference rooms, they're so ugly, they're the colors that they pick. I'm like who is? In charge of making these conference rooms, because it's like if purposefully pick the ugliest and the nastiest colors to make these happen and I'm like deep reds and deep browns that are like I don't know Anyway.

Vipul Bindra: 1:48:19

and then our job is to obviously come in and make it look pretty, or at least the best we can or change the white balance.

Natalia Gonzalez: 1:48:26

No, just kidding.

Vipul Bindra: 1:48:27

Oh yeah, you can do it. Getting a good white balance is so hard, that's crazy.

Natalia Gonzalez: 1:48:31

That's crazy too because you don't want the skin tone to be fucked up. But it is Guess what you don't want the skin tone to fucked up, but it is because guess what all of this is reflecting back.

Vipul Bindra: 1:48:41

So the skin tone is a freaking mural of red and brown and all the bs colors and you're like I don't, I don't know any white balance yeah, yeah, that's true bring out the natural skin tone in them, but it is what it is and then, their projectors, at least you know again conferences they've projected, that's freaking half beaming on their face and you know. Anyway it is what it is. And then their projectors. At least you know again conferences, their projector, that's freaking hot, beaming on their face.

Vipul Bindra: 1:49:00

And you know anyway it is what it is. We just have to do the best in that scenario.

Natalia Gonzalez: 1:49:04

And you know when you have like a shot that you want the chiaroscuro. That's really hard too, because you don't… A what? Chiaroscuro.

Vipul Bindra: 1:49:11

What is that?

Natalia Gonzalez: 1:49:12

It's like the lighter part against the dark part. It makes it more interesting and more professional. So those kind of shots are also different to achieve, because if you don't have a good negative space on it. It's not going to be a sexier image as it could be.

Vipul Bindra: 1:49:39

And see, that's the evolution of a filmmaker. Right, you start start with first no lights. Then you get better and you start to add lights. Right, you light up the set. The third is you start to take away like yeah literally the evolution filmmakers. Like when you get really good, you start to take lights away because they're like no, I need a negative here. I need a negative there. That's mostly what you're doing, and then the final. I think the new form is you got to add reflective lighting.

Vipul Bindra: 1:50:02

You start adding freaking panels everywhere to to reflect light, to give it that those shadows that I'm talking about with the sun, um, and and you know, make it look that that that type of image that you would see in the real world but anyway or something, yeah anyway the.

Vipul Bindra: 1:50:18

So the other thing very curious about is because obviously you do, you're a camera operator, you're a dp, but on the other side, uh, you're also dabbling in photography, and to me those are again, even though you're touching the camera, for both very different art forms, because you know, um, as a photographer, you're trying to stop the motion, right, you're?

Vipul Bindra: 1:50:37

trying to capture the um, uh, you know, as a photographer, you're trying to stop the motion, right, you're trying to capture the, you know, a frame of the movement Versus in video. We're trying to capture the motion. We're not, you know, stopping the motion. So similar but very, very different object. You know your final goal is very different. So how do you manage that and how do you? You keep your brain separated from each other and getting the right right. You know result at the end.

Natalia Gonzalez: 1:51:05

I believe, is practicing Um, because if you don't drop, yeah, I mean I I put myself, like you know what, I'm going to figure it out too, because I did it in Colombia when I was doing journalism. I had to do photography for that and I learned from it. And before I think about filmmaking, I was thinking about war and things like that that I wanted to capture pictures for. You know, in Colombia we had guerrilla and other criminal groups that are involved in different parts of Colombia and they are really dangerous and sometimes they kill people and all of that. And as a journalist, I wanted to, you know, film that or take pictures of those scenarios, back in the days when I was thinking that, but I realized that I wanted to leave. So I was like you know, film that or take pictures of those scenarios, back in the days when I was thinking that, but I realized that I wanted to leave. So I was like you know what? Let's do filming, because filming is chill and I can do and do the same thing, but in a safe space, right? So from that side, I start thinking about the way that I can capture images and think about shutter speed as a main thing for effects, and in filming is really different because you can't move those in terms of what you're looking for. Well, if you're using certain shots, that you need certain movements is fine, but in terms of taking pictures is totally different. And not only that, as filming we have different lights that are constantly on and keep going, but in terms of flashlights is really different, and how you understand the ISO and how you dim down certain things with f-stop and all of those things is making you a good photographer as well, and those parts are really similar in terms of what are you achieving. But not only that is the style of the photography that you're looking for. For example, headshots are certain way and certain colors and skin tones and backgrounds and things like that.

Natalia Gonzalez: 1:53:22

And how you can direct people. That's another field, because when you take pictures of people, you have to direct them, you have to make them feel comfortable, and those things are really interesting because you're in your. When you're in a film is it's kind of the same, but just for a specific person to work it out with the characters in a film or the cast members, right? But in a term that a photographer is, it is that you have to manage that, and your camera as well, right? So you have to find the proper side of the person and you have also to ask them, because they know themselves more than you do. Right, and after that, you can encounter people that they like I don't know landscaping pictures or macro photography. I really love macro photography.

Vipul Bindra: 1:54:14

I love it so I didn't know that.

Natalia Gonzalez: 1:54:16

Yeah I have to show you yeah, I would love to see some of your photography, because we all yeah, I didn't show you that, yeah but here's the thing, uh, when you start looking at little things, you encounter that there's a huge environment inside of a little leaf or inside of a next to a tree. You know, I have to use a macro lens for a client that I had because I helped someone with her Gerard Lee photography, gerard Lee company and I also do her logo and things like that for her, and I have to take pictures of the, the, the accessories that she uh brought, and it is really interesting that type of photography as well. I love it, I enjoy it. It's more like into, uh, how you can do effects on certain objects, and those kinds of things make me, uh, use the macro photography in flowers and also with little bugs too, and things that I never think that I can take pictures of.

Natalia Gonzalez: 1:55:23

You know, so those kind of scenarios as well, and not even using a flashlight, because you can use the sun in those scenarios you have a pretty good light and you can just have to raise the shutter speed or lower the shutter speed. Well, in terms of lighting, here's the thing. For photography outside, you have to make sure that you can work it out with shutter speed before you use ISO, because ISO can crop your image, and the quality is really important in an image, in an image Also, the way that you use a full-frame camera between an APS one is that an APS one is not allowing you to print a big screen thing, or for a building also.

Vipul Bindra: 1:56:07

Oh, my goodness, I'm already starting controversy about APS-C versus full-frame here. Okay, okay, but no, I see what you're saying, but it's more like into printing styles, right?

Natalia Gonzalez: 1:56:19

Not because of video production, because in video production is another way, right? If you're just filming for YouTube, it's understandable to use an APS-C right.

Natalia Gonzalez: 1:56:29

But if you're using something for a big screen like an IMAX, I understand that you're using like a 50, 70 millimeter full frame one, right, I understand that.

Natalia Gonzalez: 1:56:39

But in terms of photography as well, we encounter those kind of elements, and the way that you print the image is really important as well.

Natalia Gonzalez: 1:56:48

And actually, back in the last job that I had, I was working with a guy that he's like 60, 30, 63 or something years old and he's from Puerto Rico, his his name is Pedro and he's really nice and he was doing photography back in the days with the negatives and all of that, and he's really good at it and I'm like, oh whoa, I wanted to learn a little bit, because this is really interesting. That's the the key of when it started, right. Also, for film, because film started with photography as well and we just put motion blur and sorry motion and those scenarios for different styles are making me think that both are kind of similar but are really different, and that's why I kind of love different types of photography. That's that makes me, that allows me, or permit me, to work in different fields, not only one specific photography, but all of them look at you nat putting us to a school of difference between photography and video.

Vipul Bindra: 1:57:54

No, that's incredible. I'm glad you spoke on it. Also, I want people to go practice something kind of you touched on there Learn how to light different people with different skin tones, because even all white people don't come. It's not the same skin tone, right?

Vipul Bindra: 1:58:09

There are different shades of lighter skin tones, there's different shades of darker skin tones and as a DP, you have to be able to or a cinematographer and you know, gaffer, whatever you got to be able to light up people of different skin tones and make them all look great, because people come in all sorts of shapes and sizes and colors, and so I would highly recommend you know if somebody's starting out, you know and practice on different people and make sure you learn, like, how to light differently, because at the end of the day, our job is to make everyone look good and if you don't know how to do that, then you know you're going to not find too much success Cause, like I said, everyone's different skin tone.

Natalia Gonzalez: 1:58:50

But anyway, and not only that, they are, they have their own personalities.

Vipul Bindra: 1:58:55

Yeah.

Natalia Gonzalez: 1:59:00

And if you can't control stuff from your personality to work it out with someone that is really hard to work with in terms of photography wise and directing them, that's crazy, because you never achieve what you need. And sometimes they're really shy and sometimes they're really like unsecure when they're taking pictures. Because here's the thing in my job, my actual job I have media days that we work for the whole entire production and they are speaking and blah, blah, blah. They have their interviews and all of that, and we have a middle part before break that I have to take pictures of them for thumbnails and stuff like that. Right, so I become a photographer in that moment, so they pay me different, so that's good, whatever.

Natalia Gonzalez: 1:59:43

And I encountered that one of them the last one, it was a bunch of women that they are really experienced in different fields, and one of them was a psychologist and she worked with different people and she had to receive a bunch of information and feelings from others and she had to handle that.

Natalia Gonzalez: 2:00:10

And when I had to take her picture, she was feeling really sad, like oh no, I need to change my hair, and she started feeling weird about herself, like no, I can't do this, and I'm like this was really interesting for me, looking at someone that is helping people to travel, shooting as well from different things, that she had to work it out for herself and me as a photographer, knowing that she don't want to show her hair because of whatever she's thinking.

Natalia Gonzalez: 2:00:41

Uh, it was really hard for me and I have to be a little bit picky with her and I realized that you have, if you, in order to have a good like um photo for for you to have a good like um reputation, uh, you have to be a little bit picky with your client and sometimes I've been encountering some photographers with models that they treat them like shit and that's something that is also ethical that we have to involve in as photographers. Uh, I believe that day I just tried to be really respectful with her and I permit her to take your hair in a ponytail ponytail, yeah.

Natalia Gonzalez: 2:01:30

And then I tell her okay, I'm gonna take a picture of you like this, but can you also take off your ponytail and show me your beautiful hair and be yourself, because you're pretty, don't forget that look at that.

Vipul Bindra: 2:01:43

And then so you first complied and I love the way you you solve the problem. You let her feel comfortable first, right, and you let her take a picture about making a ponytail, whatever, because that was. And then you knew obviously that was her own self, you know self that was causing that issue. And then you made her comfortable enough and trust you enough and then you were able to let her get her hair down so you could take the picture that you really wanted to or that would make her look the picture was really good after that look at that, did she love it?

Natalia Gonzalez: 2:02:16

yeah, and actually I encountered that. I hate to put the noise when I click to catch the image, because they don't notice that when I take the picture. So I love it. I realize that I work it out better like this.

Vipul Bindra: 2:02:30

They don't even know you're doing, I've done that.

Vipul Bindra: 2:02:31

Okay, I know we're approaching the end, but I do want to tell the story I've done that, where some people are not confident, I'll turn off the tally lights on the camera for a video. And they're like I'm you know, they're nervous, they're not used to being on camera. I'm like, oh, that's okay, we won't roll for a few minutes, let's practice, and then I'll, either myself or whoever's interviewing them, I'll let them go ask a few questions. We're like we're just practicing and they have no idea and they'll go. Okay, when are we starting this? We're like we're already.

Vipul Bindra: 2:02:57

We're already doing it we're already rolling because you know we just turn off the tally lights and anyway. But you have and that's okay. You know it's, people are not. I mean, I am, I'm doing video all day. I'm not used to being in front of camera, but at the, at the end of the day you have to. You know that's our job to make them comfortable.

Natalia Gonzalez: 2:03:15

I actually feel a little bit uncomfortable here because I'm on the side that I never think that I'm the same. Same for me, hey, it's the same.

Vipul Bindra: 2:03:25

But no, having done a few of these, I'm telling you I'm loving it because I've learned so much already from you and other conversations and these, these are incredible and funny enough. Like I said, I can tell a bunch of people we're already having these conversations anyway. Might as well record them, because how many times have you stood and talked about business and strategy, or or just cinematography in general, which is what we ended up talking about today?

Natalia Gonzalez: 2:03:47

you, know we never talk about audio oh yes, I know because filmmakers don't care about audio. They don't care about audio.

Vipul Bindra: 2:03:55

I have talked about another with other people the audio is extremely important. It's lighting and audio that makes the video. Unfortunately, like I said, I'm a camera guy, but that's just what the truth me too, you know the truth is audio and and cinematography. Lighting is what's actually making good video at the end of that, but no, no, audio is more important.

Natalia Gonzalez: 2:04:13

Let's not that, that's another field. Yeah, yeah, uh, but no thanks thanks, net, for coming.

Vipul Bindra: 2:04:19

I mean taking us to school. At one point I think uh, you're an incredible person first of all. You're a great friend and you're a great camera operator and I love having you on set and thank you for taking your time out. I know, um, you were out actually visiting col and came here, so I really appreciate you and, again, you're welcome back anytime. Before we go, is there anything else you want to say or add? You know, tell people, or at least tell them your Instagram where they can go, follow you, or something.

Natalia Gonzalez: 2:04:51

Yeah, first of all, thank you to let me join you here and in your path, as now that you have successfully achieved what you wanted and I'm really proud of, uh, you and actually, if you want to mentor me, that would be great. Anytime, anytime.

Vipul Bindra: 2:05:08

You know my phone's available any day, okay I mean, I already feel honored that you, you want me to be your mentor. I mean, come on, uh, but yes, no, I'm available, call me, and that would look really five minutes away you don't know you just show up as long as I'm home, I can't guarantee but you know I'm traveling so much, but yes, as long as I'm home.

Vipul Bindra: 2:05:28

Now that we have this space, you can, we can just come and chat. We don't have to even record it. Yeah, um, but you know, technically we can even record it, yeah, yeah, we can do that I never know, I never know, I'm just kidding but also uh, to permit me to meet your family.

Natalia Gonzalez: 2:05:44

Um, I really feel really comfortable here and I kind of have like a little uh family around that I can talk with and feel comfortable with, and um, thank you for that. Um also thank you for appreciate my talent and for being so humble with me, and sometimes it's good to have someone that respects your skills and respects your professionalism, and thank you for that. And I just wanted to say thank you and be grateful because this is something really interesting, anyway, but no, I really appreciate you.

Vipul Bindra: 2:06:22

Like I said, I didn't do that. I don't do that with just anyone, you know. I don't just invite everyone in my home, you know, for Thanksgiving and stuff like that. You guys really do mean everything, because you guys are so great, like I said, it's not like we've known each other for that long.

Vipul Bindra: 2:06:37

You guys are so great, like I said it, it's not like we've known each other for that long, but ever since we did, I knew you guys were honest and uh and humble and um and great people you, and both you and mario, like I said, you know he's here, he's going to say the same thing I said I can't wait to have him um, because he's visiting family too everyone's I admire him a lot.

Natalia Gonzalez: 2:06:55

That's why I kind of fall in love on him, because he's really talented and he's a really solid person with his values, and that's something that I really appreciate in someone.

Vipul Bindra: 2:07:12

No, and I found that very common between the three of us, which is why we connected and worked so much because you don't have to um, you know when you're talented yeah, you don't have to fake it, you don't have to like you know you don't need. Uh, what do you call? Uh? Somebody just compliment you all the time. Right, you just do it and you're good at it and you guys are so humble about it makes it easier to work with you right, so anyway like I said, I thank you again and oh, instagram please where can people follow you, or whatever.

Natalia Gonzalez: 2:07:39

I have two instagrams, yeah, the first one is ng inesthetic, because I'm never stopping, that's why yeah. And the other that's the artistic one. I used to do body painting in colombia, so you can check it out. And the other one is, uh, nat gongard dot down.

Vipul Bindra: 2:08:02

No, sorry, oh, my god, I totally forget that one oh, that's okay, just send it to me, I'll put it in the description, or whatever.

Natalia Gonzalez: 2:08:09

Guys, yeah, because that one is the professional one hey, that's very unprofessional no, it's fine, look, I don't even post on social media.

Vipul Bindra: 2:08:17

No need to follow me because I'm so busy actually working. But no, I'm going to try and get better at it. But I really appreciate you. Like I said coming, you're welcome back anytime, literally just to hang out too, and I appreciate you and thank you again.

Natalia Gonzalez: 2:08:32

Thank you very much, nice to see you again.

Vipul Bindra: 2:08:34

I know this is weird. Anyway, yeah, no.

Natalia Gonzalez: 2:08:36

Yeah, we normally hug each other.

Vipul Bindra: 2:08:38

It's hard to do in this setup. Yeah, it's okay, but thank you again, nat.

Natalia Gonzalez: 2:08:42

Thank you so much for everything.