Search Results for 'no'

[Stip]

You could study Sidney Lumet’s “12 Angry Men” for this matter.

As for planning, what can help is to implement changes in blocking, e.g. have someone leave the table to go get and open a wine while still participating in (or reacting to) the conversation. Making changes to the blocking in general is a good way to keep long dialogue scenes dynamic and not repetitive, plus it’s hardly ever a bad idea to give the actors something to do 🙂

[dmullenasc]

Intermediate dupe stock is a “negative” stock in the sense that it creates the opposite density of what it is copying, unlike a reversal (aka slide) stock. So one can create a positive or negative intermediate depending on what you record from digitally. So it’s not really accurate to call it a “positive” stock, it’s either. It can create a positive image if it’s a copy of a negative image. Same goes for print stock — the image is positive only because it’s a copy of a negative so naturally the densities get reversed.

 

[Stip]

CPC in London call it ‘Truegrain’:

“We use our state-of-the-art technology to record your digital content to positive 35mm motion picture film and scan back to digital to achieve authentic film grain and texture”.

They do not use negative film stock, only positive film stock.

I don’t know who made the print for ‘Dune’ but would assume it was a similar or the same process.

[Yves_LA]

Yes! It always amazes me how one script can have so many perspectives. On that note… did prepping for a first meeting early in your narrative career change dramatically as you gained more experience? Did you like to make lookbooks, decks, for the 1st meeting to make a good first (and maybe only) impression? I like the idea of listening to what the Director envisions for the film and then doing lookbook, etc for a second interview … but one might not have a second go at an interview or did you have all your materials on that first meeting in case you had a chance to talk it over? Thank you!

[Roger Deakins]

No one has made a comment so I will say that it is the collaboration between people on a film set that I miss most of all. That is what I have learnt while not shooting.

[Roger Deakins]

Tri-X and Ilford FP4 were my go to. It was more a case of what was available in the local photo shop and I’ve never been too fussy about a particular stock. These days I shoot digital. Why not?

[Roger Deakins]

I don’t really interact with anyone that happens to be in a photo I take. Sometimes I stand for long enough that a person within my view can make a choice whether to be photographed or not but I only rarely specifically ask their permission. That being the case, most of my pictures these days have few people in them or just figures in the distance.

[Roger Deakins]

I think that was the shot as it does seems the overheads are reflect on the characters heads. Denis and the editor were trying to construct the best version of the scene. The fact is that we shot the POV, if that really is the one that was moved, for later in the scene but they felt it would be stronger earlier makes total sense. I once shot a dance sequence with Sam Mendes that involved multiple color changes. In that case he used a red shot to match into part of the scene which we had shot under blue light. Luckily, we were finishing the film with a DI and I could adjust the shot so that no one has noticed the imbalance. Other than me! I hated having to do it but the scene was stronger for it being edited in that way.

Watch the driving sequences in Scorsese’s  Alice Doesn’t Live Here Anymore. (His best film IMO) In one section the background to the boy is almost dusk while the reverse is in blinding sunlight. And its a long scene. No one, least of all Marty, would intend it that way but there are always compromises to be made.

[Roger Deakins]

I would be interesting in knowing the technique myself – not that I might ever use it as the expense alone would put me off.

[Roger Deakins]

The practical lamps are important as they set the tone of the lighting, but I would usually add a small bounce source to augment what comes naturally. The two images you post, for instance, were lit using a lamp rigged to the ceiling bounced off some muslin stretched against the wall on the side of the frame.

You ask if that lighting constrains the talent but we would have done a blocking rehearsal and the actors were comfortable with their positions. Of course, Prisoners was shot in a very deliberate way and that is not always the case. A Beautiful Mind was much more ‘free flowing’ and the lighting had to allow for that kind of flexibility, as did my operating.

[Mr DM]

I feel a little ridiculous following on Rogers comment, but just want to address something that caught my attention from the original post:

“Before making a name for yourself…”

I have been working in the industry as a commercial and music video director for 15+ years, and some of those were grafting through soul-destroying projects with clients from the pits of creative hell, with budgets so small that could make Werner Herzog weep. Sleep-deprived, and with a nervous system shot, sometimes it can feel like you just need to tick a box and go home. BUT…the best DOPs I worked with were the ones who (at the time) had no name for themselves but were right there with me in the thick of it, and they would have an amazing ability to a) know when to speak up, b) would have a simple solution ready to make the shot better…either one of those things, or both, almost always resulted in a better shot, and often inspiring (an exhausted) director to do better. Some of those DOPs have become career-long collaborators, others have gone on to achieve a lot more than I have.

It may take time to learn those timing skills, and it may take time to get the experience needed to build an arsenal of solutions for those kinds of situations but the point I’m trying to make was that in all those cases none, and I mean zero, of those DOPs, commanded my respect because they had a big name, rather they commanded my attention because they got their timing right, picked the right battle, and almost always had a simple solution to a problem I couldn’t articulate.

Hope this helps.

[Mr DM]

I am a late joiner and listener to the fantastic world of the Team Deakins podcast. Started 8 months ago and am about 110+ episodes in starting from the very first episode. Have been using the Podcast app that comes standard on iphones, half way listening to the John Toll episode, took a break, only to return to the app having only episodes from 2023 available.

All previous episodes are gone.
Favorited episodes are gone.
All listening history is gone.

Have gone to check on my desktop (https://podcasts.apple.com/us/podcast/team-deakins/id1510638084), same thing. Everything prior to August 2023 is gone.

Anyone else seeing this? I registered just to find out if I’m missing something here?
Super bummed about it (I know I can dip into the archives on here, but losing my listening history feels a little devastating).

[Daniel]

I was fortunate enough to see a screening in 70mm. I will see the film again in another format for comparison, probably Dolby Cinema.

The image on the massive 70mm projection looked great. There were a few quirks during the showing. I did not mind them.

First, I was surprised to notice a decent amount of ‘flickering’ during high-key scenes (this was only my second time watching in this format). That might be normal. Second, we lost the audio for just a few seconds, and a large red dot appeared in the upper right-hand corner of the screen for several seconds during different scenes. I am curious about what caused that. I would view that format again anytime, regardless.

I suspect a particular scene in the movie was inspired by 1917.

 

[dmullenasc]

Any lighting package should always contain some CTO, CTB, Plus-Green, and Minus-Green gels even if just in scraps.

Whether you used HMIs or tungsten with gels, or Kinos, with or without gels, just depended on the situation, the scale of the shot, your lighting package, etc. Keep in mind that you generally lose more output shifting tungsten towards daylight with blue gels than you do shifting HMIs towards tungsten with orange gels, plus HMIs are already more energy-efficient. So for a larger space where you are aiming for balancing to a Cool White fluorescent color (more like 4700K with some green), you would be more likely to use HMIs than tungsten.  However in a small space, you might try tungsten with gels (the color tends to be “richer” from gelled tungsten in some ways but that is subjective.)

If you have to get closer to 3200K, then tungsten makes more sense (and HMIs gelled to 3200K never look quite right to my eyes compared to tungsten.)

There are too many variables to give you a definitive answer. My only caveat is that I tend to avoid mixing techniques for whatever the key light is on the face, I wouldn’t use gelled HMIs in one spot and then gelled tungsten in another for a key (fill or backlight is less critical.)

[dmullenasc]

Not Roger, but I think muslin is slightly more “matte” (definitely a rougher surface) so the bounce off of it might be a bit softer; otherwise the difference might be that unbleached muslin has a warmth to it compared to UltraBounce.