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Supreme prime radiance for flare (3 replies and 7 comments)

Vanniyan
1 month ago
Vanniyan 1 month ago

Dear master roger and david Zeiss introduced supreme prime radiance. But the reason is very funny. I have  read they had pit some uncoated surface on front and rear element to get more flare. Do you both believe it's very important aspect to tell a story. First of all roger and david both you believe context convey through a flare. Do you give any example flare used for convey the context? 

Roger Deakins
1 month ago
Roger Deakins 1 month ago

I rarely like flares in a shot as I find it almost always distracts and leads attention to the 'process'.

Greg
1 month ago

Hi Roger. I have completed the Screenplay of a necessarily very low budget feature that I am desperate to make on which I will be Director and Cinematographer. I have many years experience as a Stills Photographer so would like to shoot this in black and white. It will need to be shot in video, for budget reasons. If it's not too big a question to post on the Forum, could you please recommend a camera and a filtration that might work to give me a clean, graphic image? I had been wondering about the Canon C70 because, as a One Man Band it may best fit my past experience of hand held shooting. Thanks, Roger.

Greg
1 month ago

And, yes, Roger: I am could not be more in agreement with you to never show any evidence of 'process'.

dmullenasc
1 month ago

If you want a clean image, then you don't really need to use filters.

dmullenasc
1 month ago
dmullenasc 1 month ago

I mentioned this example before, but the arrival to the Playboy Bunny Show sequence in "Apocalypse Now" is a good example of "motivated" flares to make a story point, which is the surreal nature of the moment (in fact, Fishburn's dialogue explicitly says this). Storaro's idea for the visual structure of the movie was that the conflict of cultures was represented by the conflict of natural and artificial energies, or light -- that the U.S. Army was an intrusion on the natural landscape and would be represented by artificial light -- searchlights, etc. The anamorphic flares deliberately make these sources more prominent, even oppressive. This scene is the best example of this conceit.

https://www.rogerdeakins.com/wp-content/uploads/2020/10/Screen-Shot-2020-10-25-at-2.50.22-PM.png
dmullenasc
1 month ago
dmullenasc 1 month ago

Another example of motivated flares is in "J.F.K." where lens flares causing the frame to burn out to white are used to transition to memories, particularly in the sequence where Garrison reads the Warren Commission Report at night in his study.  Some of the flares are used to enhance the chaos in Daley Plaza right after the assassination.

Vanniyan
1 month ago

Thanks David. Flare is also another tool. We have to use very carefully depends the context. Right? In my opinion any flare won't give natural feel. I mean a arrogant character introduction and some people's doing flare while villain introduction. What's your thoughts david

dmullenasc
4 weeks ago

Is naturalism always the goal?

dmullenasc
4 weeks ago

Trumpets often call attention to themselves in the middle of a symphony but sometimes that’s the point of a trumpet... you just have to show some restraint and exercise discretion.

dmullenasc
4 weeks ago

Yes it’s too easy to fall into cliche and overuse “cheap” cinematic tricks, hence why you have to use your judgement and taste.

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