-
Search Results
-
Hi Sir Deakins. I noticed you bounce light off muslin sometimes for your key, others an ultra bounce. If one bounces light off muslin or ultra bounce, will there be any difference in softness on the subject if all else is equal (light source, bounce distance, etc)?
In reply to: Reflected light and inverse square law
A “perfect” theoretical mirror allows you to increase the distance the light travels and thus get a slower fall-off near the subject.
But nothing in life is perfect, if the mirror is dusty and some light is bounced off of the dust, then that light in essence “originates” from that point and the fall-off rate is calculated from there. So what results is a mix of light, some from the original source reflected off of the clean parts of the mirror, and other light reflected off of the dust of the mirror. I suspect that the resulting fall-off rate is also a mix.
It’s a similar issue to the sun shining through a dusty window, some rays have long fall-off rate while others have a faster rate starting from the window as the source, not the sun as the source, so it’s sort of a mix. At least, that’s my theory…
In reply to: Lighting Notes
November in the US and January in Europe.
I don’t know if it’s of any relevance but italian Amazon page says it will available in November here, i hope they didn’t mistake publishing date and european availability date, ah ah! The excerpt of the book are great, looking forward to read and re-read it!I bet it will become the Bible of the present and future generations of cinematographers!
In reply to: Lighting Notes
In reply to: Lighting Notes
This year means November month right? I am eager to read your great experience. Your priceless experience is reflections in reflection book!
In reply to: 29 – 31 – 29 Printer Points, Why Green at 31?
Each lab calibrates their printers to whatever range between 1 and 50 for each color they want, 25-25-25 will not be the same at another lab. And film stocks rarely are printed at the same number value for each color to get to neutral, so having one color at 29 and another at 31 is not significant.
Plus there are some day to day variations from the processing despite what the lab tells you. And there are some roll variations despite what Kodak tells you. And DPs themselves often expose within a 1/3-stop variation because we’re not perfect.
Some DPs just printed everything at the same set of numbers mainly to show them their exposure variations, the processing variations, the stock variations… which to some degree is educational but would also drive you nuts, plus the director and editor would be cutting dailies with these variations visible.
But even if there were zero variations on everyone’s part, it still doesn’t mean that to get to neutral that the film would print at the same number for each color.
Topic: Sicario – Briefing Room
Hi Roger,
In Team Deakins Podcast S1 Turning the Tables – Sicario, you talk about a shot in the briefing room scene of Sicario was lit for when the overhead fluorescents were on, but was cut into a moment when the lights are off. You mentioned you understood the reason why the editor did so, and timed the shot to match the scene.
I’ve analyzed the scene so many times, and I always bring up this scene when discussing POV with my director. I love the camera puts us in Kate’s perspective through her close up, and her POV shot. But I’ve never noticed that a shot lit for a different moment has sneaked in. Looking closely, I’m assuming it’s the shot of firearms panning into the soldiers, by looking at the reflections on the chairs and sunglasses.
In reply to: Shawshank DVD / Blu Ray Transfers
In reply to: lighting a rainy night scene
I am sure you are aware how light behaves differently in the rain. You might find that your street lights, when used as a backlight, may be enough and you might find yourself turning off lights that are behind camera. Take a look at Road to Perdition. I know the film had very strong stylized backlighting for the rain sequences but the concept is the same. Wide shots in silhouette against the light and that same light acting as a side light for closer coverage of the characters.
In reply to: Lighting a night exterior
I might suggest you shoot any wide shots at dusk and take advantage of a dark sky. Otherwise, it is hard to give advice without knowing the complexity of the scene, the width of your shots and the style of shooting. It is one thing to light a static shot in a forest and another a long tracking shot that revolves 360º.
In reply to: Lighting Notes
I have a book, ‘Reflections’, coming out in the fall which may provide you with what you are after. At least, I hope it will as that was my intent when assembling it. ‘Reflections’ contains lighting diagrams and analysis of various films and scenes within them but is not intended as a technical manual, as its title would imply.
Hi Roger & James, when I listened to the recent podcast of yours with Dave Freeth you guys talked about lens stabilisation called Dynolens?.
I searched online, but I haven’t found any info on that equipment. Can you give me some explanation on that?
Thank you
In reply to: DVD / Blu Ray Transfers
Hi All! I’m new to the forum, and I really got into Roger Deakins work thanks to my Girlfriend. Which is actually why I’m here as well. I think writing and filming a short film, which she would then go and see under another pretense would be a cool way to propose to a film nerd like her. I’ve written a short screenplay (which will be heavily edited in the event she’s on this forum) but still conveys the gist of what I’m attempting, and I wanted to hear some feedback / suggestions / what to expect along the way. It would be especially awesome to hear from Mr. Deakins which would be a cool Easter egg to tell her about afterwards. Here is the edited screenplay (which loses some magic in it’s anonymity with details removed, but oh well)
SCENE 1: THE ARRIVAL (SUNRISE GOLDEN HOUR)
We open with a black screen, and the sound of a vehicle idling. The picture slowly fades in, revealing a dark vehicle that fills the frame. The scene sits here for a few seconds, building tension, before the vehicle drives offscreen to the right revealing the background. In the background, a man stands facing away, the camera positioned so that he is in the top left intersection of the frame per the rule of thirds.
THE MAN IS DRESSED IN A G1 JACKET, WITH WARM BROWN, NEUTRAL TONED CLOTHING
Beyond the man, we see a gate and driveway ascending up towards a house. The gate currently closed. The Man begins to walk towards the gate, the camera staying behind him and holding distance. He approaches at an angle, the camera moving loosely to his right. As he nears the gate, he begins to move in parallel with it, his left hand gliding along the metal until he reaches the right side of the gate. He looks down, and reaches out with a trembling right hand and picks up the lock, realizing the gate is locked. He stops in a moment of contemplation, then, resolute in his decision he begins to climb the gate. Once he’s on the other side, the camera begins to move in. The Man stands still for a second, dusting himself off before he begins the trek up the driveway. The camera seamlessly follows.
(Blind Spot Handoff)
START OF THE PIANO SCORE
As the man ascends the driveway, the camera first swings to his left as his gaze shifts to the right, revealing a horse grazing in the field. This angle follows the man upwards, As the man continues up the driveway, He is nearing the crest of the hill. Once he reaches the top, the house is fully in view with a truck in the driveway facing the man.
END OF THE PIANO SCORE
Her dog rushes from the porch over to the man. He stops, and kneels down. The camera rises up and pans down to be just above the mans shoulder in height and looking over that shoulder as he takes a moment to interact with her. After a little while, the front door opens, and her mom steps out, having noticed the Man’s presence.
Mom: “Oh, Hey! I wasn’t expecting you.”
The Man stands up, and begins to walk towards her. The camera behind the man and following once again, his back and shoulders taking up most of the left side of the frame with Her mom being seen on the right.
The Man: “I know, I’m sorry for just dropping by like this. I just…I really need to see her. Is she here?”
Mom: “I’m sorry, she’s not home right now. But I can take a message?”
The Man: “Actually, do you know where I can find her? It’s…Important”
As he says “It’s…Important”, he reaches into his right-hand jacket pocket and pulls something out (The Ring) but its obscured by his hand. He brings it in front of his body, hidden from the camera and presents it to her. She reacts. It’s okay to dwell for a while here, this should be a moment between her and I and it shouldn’t be rushed. After whatever naturally occurs in this moment, she will volunteer the following freely or prompted by me.
Mom: “She’s at the Theatre, If you hurry, you might catch her!”
The camera begins to pan to the left to reveal Sister coming from around the corner. The Man puts the object back in his pocket as this happens.
Sister: “I don’t mean to eavesdrop, but it sounds like you need a ride?”
Mom: “We have to get him to your Sister!”
Sister: “Hop in” They gesture towards the truck that is sitting in the driveway. She jumps in the Driver Seat, the camera follows the man as he walks around the front of the vehicle and gets into the Passenger seat. After he closes his door, the camera continues to sink backward, momentarily showing a shot slightly above the truck bed looking forward, mom off to the side. Then as it nears the back of the truck it descends and allows the truck bed door to fill the frame, slowly moving from the Passenger side to the Driver side.
THIS IS THE TRANSITION, A SMOOTH SHOT FROM ONE END OF THE TRUCK BED DOOR TO THE OTHER. AS WE BEGIN TO LEAVE THE LEFT SIDE OF THE TRUCK BED DOOR WE ARE IN SCENE 2.
2
THE THEATRE
As the camera comes out from behind the truck, The Man is standing at the Driver Side Door, and he shakes hands with Sister in the Driver seat.The Man: “Thank you, I really appreciate your support.” As he says that the camera is panning around, once more behind the man as he faces the truck She nods in agreement, and the Man recognizes that its time. With his right hand he taps the door of the truck and opens his shoulders to become intersecting with the truck, looking towards the left at the theatre. The camera floats behind him, catching him silhouetted against the backdrop of the morning sky in the background beyond the theatre, This lingers for a few seconds. Then he lets go of the truck and begins to walk towards the theatre, the camera resuming its place behind him. He enters the theatre lobby, and makes his way towards the screening room. His pace is not slow, but deliberate. Tension builds in the pacing. The camera maintains distance and angle as it follows. As he approaches the screening room door, he pauses. His shoulders visibly swell as he takes a deep breath, clearly nervous. After he gathers his courage, he pushes open the door and walks in, the camera following. He walks down the short hallway leading into the viewing area, and just as he starts to turn the corner the screen goes black…
I want to create a mostly 1 take feel, to keep it live and in the moment. The only real transition between Locations 1/2. Otherwise I want it to feel like as she’s watching this in the theatre she’s right there behind and beside me. This is probably already too long of a post, so I’ll stop short here for now. Any tips would be appreciated!
Dear Roger and fellow members of the forum,
I would like to share my recent narrative music video work, looking for your insights and thoughts on it. On what works and what might not be working and if it’s visually communicative enough, since the lyrics of the song may not be something you might readily understand as it’s not in English. So interested to know what you all think about it.
Thank you in advance. 🙂
loved the recent Steven Soderberg podcast by the way; appreciate how openly and warmly knowledge is shared here.
CBE, ASC, BSC
