Search Results for 'no'

[Roger Deakins]

That is simply when a lab warms up the developer to a temperature that is above the optimum. This makes the process faster and labs would favor this if they had a large quantity of footage that needed development in a fixed time frame. When you ‘hot develop’ a negative, which I have often done with B&W stills film, there will be an increase in grain. There was a lab that would often change the temperature of their developer from day to day, which was quite noticeable on the dailies they produced.

[Roger Deakins]

I had asked Arri if it were possible to create a digital camera with an optical viewfinder as the electronic finders were then so tiring on the eye and really not that good.  The XT Studio was the result. There is no alternative to an electronic finder for any small digital camera so the optical option simply no longer exists.

[Tapuz]

Hi Mr.Deakins

I read some articles online saying that you shot ‘Skyfall’ of the 007 franchise with an ARRI ALEXA XT Studio, which has an optical viewfinder and a mechanical shutter. I have always been curious about the experience of using analog structures like these on a digital camera, and whether they have an impact on the image coming out of the camera when compared to normal digital cameras. Does the identical optical structure bring a different image? (e.g. different looks of motion blur or sth.) Is there a particular reason why you chose to use the Studio? What does it feel like when using a machine that combined optical structures with a digital sensor?

[Mike]

Considering this short was made for $150.00, it was rather good infact I should say excellent. Superb lighting and camera work imo, good acting and sensitive Direction. Sound effects and music track was above average, sound recording was noticeably very clean (I listened with reference headphones) I was very impressed.  Editing too was precise. A lot of thought has gone into this production particularly when prepping and rehearsing. It has certainly paid off.

Certainly worthy of showing in a cinema or even as a TV continuity price.

[quijotesco24]

Not Roger neither.

I would choose carefully the exact time of day for you to get the shots you need to see the exterior.
If you plan carefully timing the sun and what light levels you get on the background you still can bounce light inside the room from the exterior by using bounces outside the frame.
Fastest quick option is to embrace silhouette when windows are on the frame.

For the rest of the shots ask to shoot along the windows and light as usual. No need for you to put sheers on windows actually IMO.

[quijotesco24]

A film is usually a collaborative process.

It embraces lots of different languages and it’s hard for just someone to manage all of them in a deep and creative way. At least at the beginning.

Focus on one aspect and master it. Maybe it’s writing what you really like? Maybe it’s cinematography? Maybe it’s the recreation of a world (art department)?

It‘s true a director needs to know a bit of everything but still most of them just focus on one aspect mainly and delegate the rest to their teams.

If you focus on one aspect you will find the resources you need to develop your craft, as specific courses, specific books, specific advice by professionals even specific competitions and awards. The 1-man do it all doesn’t exist on a professional level.

Also, this is a forum on Roger Deakins website so most people here would have a clear tendency on focus their creativity to the creation of moving images.

 

[Tyler F]

Not Roger,

Depending on your angles, could you ‘motivate’ your key by shooting alongside the window? Without knowing any details really, you could also bounce a few lights off the ceiling to bring up room tone and shape as you go into tighter frames.  Judging by the space, the biggest source you can get without moving too much around is a 6×6, maybe an 8×8 could just fit?

Shed some more details and we can help you further!

-T

[Jay Young]

I would like cameras to be less sensitive.  I often have to shoot with a really tight shutter, and lower the ISO to achieve a certain look.  I know that’s not a reality.

[Rizzy]

@bscofano88 Look forward to watching this!

I actually made a short a couple of years ago that was completely bare bones, just me with the help of my girlfriend. Although it needs editing down, I actually liked how it came out, but I didn’t know what to do with it. I’m very glad I made it, but it felt too basic. So I two years later I’m still trying to develop scripts, and think about what I can do with little resources that can be entered into a film festival or something…? It’s challenging, and time goes quick! But Andy Sandberg is very inspiring.

@alduffield Yes, very true!

Here’s a link to the film if you feel like watching it. Some of the beginning is what I plan to edit out, it gets better! (I hope) 🙂

https://youtu.be/9vET39pQeM0

[bscofano88]

Here’s the link. English subtitles are available too.

If I’m not mistaken, our total budget was around 150 dollars.
Feedbacks are more than welcome! 🙂

[Rizzy]

@gianniranzuglia Thanks for recommending Lights Out, I’ve heard David Sandberg’s name a few times but never saw his film. It’s so good! Great use of sound, and all very simple. Simple and concentrated seems to be key. It’s like reducing boiling a broth down to a thick and potent gravy.

@fgd135 I will watch that! Sidney Lumet’s book is great.

@stip Good advice!

@bscofano88 Thanks for sharing your experience. I’d love to see your film if you are able to drop a link.

[russwrf]

I’ve been listening to the Team Deakins Podcast for a few months now. I absolutely love it! Someone I think would make a great guest would be Director, Gareth Edward. He has a great story to tell about how he made the movie, Monsters (2010). Not the greatest, but how he made this movie on a 5000 thousand dollar budget was remarkable! Making the special effect in his bathtub and all. He went on to direct Godzilla and Rogue one: A Star Wars Story.

[bscofano88]

I have made a 15 minutes short film last year with almost no budget. As challenging as it was, it was surely a great learning experience and I was overall satisfied with the final result.

Making a movie on these terms it’s surely possible, but I think it’s important to
1) be creative and open to changes, as you’ll most likely deal with a tight schedule and restraining location rules;
2) be reasonable with the final result. Not by making a bad film on purpose, but by understanding the limits of your gear and crew. As talented as you are, it is unrealistic to aim for an Alexa look while shooting with a DSLR;
3) and be able to assemble a crew of people sharing the same passion. Instead of asking for a favor, it is nice to look for people who have something to gain from that experience even when you don’t have a lot to pay them. They could be looking for set experience, for adding a specific type of project to the portfolio. Win-Win situations are based on trust and sincerity.

Anyway, if I had extra budget for the short film I’ve mentioned, I would most likely use it to rent a better camera (it was filmed using a DSLR) and/or pay for better post producton (specially coloring).

[Davinki]

Hello, you’ve probably heard of buying one big thing of duvetyne and folding it down for use in smaller frames and how that works well, does it work for other non negative full fabrics like unbleached muslin or even china silk? Have you even heard of someone folding up unbleached muslin for use in smaller frames?

[Stip]

The less you have, the more important the quality of the story.

If you have extra money, put it in talented people, proper catering and solid sound. A worthwhile film can be done without any film lights or cinema camera if you’ve got the minds for creative solutions.

Limitation propels creativity.

If you start at zero, there’ll be limitations every minute of your way, so you want the right people on your side to make maximum use of these limitations. Good catering because bodies and minds must be fueled. Good sound because that’s the only thing the audience will not forgive if it’s bad.