Search Results for 'no'

[dmullenasc]

I still cannot put a photo into a reply without getting the “critical error” message. I even tried a very small and very compressed JPEG in case it was a file size issue.

[LucaM]

I think it depends on a lot of elements: family (both as time and as financial support), job opportunities in you area, links in the industry and so on . Roger, David and the others here may advice you better than me, but my opinion is that your (and mine and everybody else’s) problem is not actually the age, it is the AI. The real question is for how long cinema (and tv) will still need cinematographers, VFX artists, etc etc, no matter the age. No doubt that established professionals will keep on working (perhaps re-inventing themselves as some kind of AI cinematographers coordinators, like in animation, or i don’t know what their job will become) . But for people starting now i think there will be fewer and fewer opportunities. This doesn’t mean that people won’t do movies in the traditional way (oil painting and clay sculpture still exist today, after all), but i am afraid there will be an ongoing reduction of jobs (and it’s happening yet) . Interesting times for watching, sad times for creating.

[thomasvangool]

A post grad course would be perfect and teach you very quickly what you need to know technically.

I think being a bit older and having the life experience will massively play to your favour! In my opinion, there is no shortage of technically skilled cinematographers who can compose a perfect image but there is a massive shortage of cinematographers who can capture the feeling of a story.

Good luck with everything, I’m sure you’ll kill it

 

 

 

[Patrick79]

Hello, my name’s Patrick. I’m new here.
Film has been a lifelong passion of mine. I studied at the University of the Arts London and spent some time working in audio postproduction at Shepperton Studios. Over the years, though, I’ve often felt I ended up on the wrong side of the industry — my instincts have always leaned more toward the visual.

Cinematography, and especially the work of Roger Deakins, has had a big impact on me. I’ve always been drawn to the way light and composition can tell a story without a word being spoken — it’s that quiet kind of storytelling that really stays with me.

I’ve recently applied to a postgraduate cinematography course in London. I’m now in my late forties, and while I still have a strong drive to learn and be involved, I do wonder if it’s too late to take this seriously as a career.

I’d be really grateful for any thoughts — especially from anyone who’s changed course later in life, or simply believes that it’s never too late to start doing something you care about.

Many thanks.

[Stip]

Thank you Roger!

There’s no need for pre-flashing, or even film, today but I still find these processes, and how people used them to achieve certain goals, very interesting.

[Roger Deakins]

The Coen Brothers would occasionally cut into a shot to shorten a pause in the dialogue or action. I would sometimes know of these jump cuts before I began to time a film but, especially when we were making photochemical prints at the lab, I might only notice them when each section of the cut film negative had to have an individual printer light.

[Roger Deakins]

Personally, I would not say there was any more anarchy in the chemical process than in the digital realm. Of course, in the digital world you can see the results straight away whereas with film you need to test.

Think of flashing the negative as bringing up the fog level of the emulsion. The clear areas are fogged and that leaves more information in the blacks of the print. The more intense the light the less intense the shadows. I have flashed/fogged with a very warm colored light to introduce color into the shadows. On The Assassination of Jesse James we intended to both flash the negative with a warm light, to produce color in the shadows, while using a bleach bypass process to enhance the contrast and reduce the saturation. In the end we decided to process the neg with a bleach bypass but to create the warmth in the DI. The point is that we could have done it photochemically had we the time and money. These processes can be quite precise.

[Roger Deakins]

It may be the 12 x 12 was flattening the face whereas a 12 x 4 gives more light and shade. Hard to say when I have no idea how far the bounce was from the subject, how high or if the light was evenly spread across it. I will often use three 4 x 4s and allow the central reflector to be brighter than those to the sides. You might control the spot of a lamp on a 12 x 12 and obtain a similar result. There are all sorts of combinations even with such a simple set up.

[Bala]

Sir

To light a charector’s face

I used  one 12×12 ultra bounce with 3 nano 600  lights bouncing it from 12×12  surface

vs

Using three separate 4×4 white cloths with 3 nano 600 lights each bouncing on them as separate lights guiding to charector’s face

And I found using 3 separate 4×4 has nice definition on the character  faces compared to one large 12×12 bounce .

Why is  that sir ?

[Sumarokov]

Thank you, David, for your answer! I somehow didn’t think about the problem of light at short focal lengths, but now I will definitely choose long focal lengths.

[dmullenasc]

I’ve done eyeball shots on a 100mm macro, a 200mm macro, and the end of a 24-290mm zoom with a diopter…

One issue is that with a 100mm macro, the lens is only a few inches from the eye, not leaving a lot of room for lighting, but it works. A 200mm macro allows you to be at a more comfortable distance so I would say anywhere in between 100mm and 200mm could work for you.

[Sumarokov]

And here I am, 2 years after the topic began, with my question. In short, what lens did you use? For such a shot, the laowa probe 24mm immediately comes to mind, but the focal length is too wide, and you would have to poke the tube almost into the person’s eye. Then the Leitz Thalia 120mm makro and their Macrolux attachments came to mind, but since it is not possible to do tests for me, maybe you can advise which lens is best for shooting such shots?

[stevepaur]

Hi all: I’ve got kind of a fun editing observation for you.

I recently discovered two VERY subtle hidden cuts in True Grit. I’m only a film fan and don’t work in the industry, so it’s very possible these kinds of cuts are a lot more common than I realize. (Because of how seamless they are, I like to imagine that the Coens were auditioning to edit 1917 without knowing it haha…)

Anyway, the cuts I’m referring to are in the morning bedroom scene where Mattie and Laboeuf first meet, and the only reason I noticed them was because I was watching True Grit on silent while listening to Team Deakins get interviewed by David Mullen about the film — otherwise I definitely wouldn’t have noticed the jump-cutting pipe smoke after Damon sets the pipe on the table.

Everything else in the shot (lighting, framing, Damon’s posture, etc.) matches up precisely enough that the cuts are BARELY noticeable — but, if you really look, they show up in the following way: Laboeuf sets the pipe down, there’s a pause, then a CUT, then L. says, “A saucy line will not get you far with me,” then another CUT, then L. says, “I saw your mother yesterday mornin’…” — all within the same shot.

This is so subtle and hard to notice that it’s surely intentional, not a mistake — the amazing thing (to me) is just how bold (and sly) of an editing choice it is — doing it not just once but twice within a few seconds.

More proof (as if we needed any!) that the Coens are the ultimate badasses (to quote another of their movies).

[George]

Thank you for your precious thoughts, David! I should have added, that I also have to light the rooms from the outside, as they are quite small and have low ceilings. And we should be able to move around quite a bit, not 360 degrees, but handheld and lots of long shots.

[George]

Dear Roger, dear valued forum members,

I am currently planning a feature with lots of scenes shot on location in old mountain huts with small windows. I would like to achieve the feeling of harsh exteriors and dark interiors and therefore burn out the windows from time to time. I have heard about quite some different ways of trying to do this and also have seen mixed results. Putting diffusion on the windows or placing the bounce directly in front of the window so you literally look onto the muslin/ultrabounce/etc. I have also heard about blowing out the windows in post, but that does not feel like the right way to do to me.

What are your experiences with that?

Thank you all and kind regards,
George