Search Results for 'no'

[The Byre]

Also not Roger – but I do not think the question is without merit.  Obviously every creative must consider the role of every other creative and it is the job of the director to ensure that this happens.  A film shot wide in an observational style is going to have a very different type of editing rhythm than an action film with many sudden cuts and camera moves.  Set design, lighting, framing and camera movement will all comply and aid the telling of the story and the director’s vision.

[rama lingam]

I am Not Roger. But what a ridiculous questions. Ofcourse you have preconceived idea about editing. For every movie you have decide particular editing pattern in your mind. Cinematographer never ask a such question like this.

[rama lingam]

I am Not Roger. But what a ridiculous questions. Ofcourse you have preconceived idea about editing. For every movie you have decide particular editing pattern in your mind. Cinematographer never ask a such question like this.

[Ganesh Venkatesh]

Hi Master Roger Deakins,

for some films cinematographer considers editing in the pre-production.

For example, Mad Max: Fury Road, due to its fast cutting.  In every shot the main element is in the center of the composition so the editor can use the eye trace for fast cutting.

In one interview Joe Walker said about the Blade Runner 2049 ” its a very intimate relationship on set with DOP and their director and i don’t come in the middle of that. I kind of know what they’re doing what they’re trying to achieve and they know what i’m trying to achieve.”

sir is it best to know about each others work so everything leads into a place, everyone wished?. or is it best to maintain everybody freedom on their works?

Sir Roger did you considers the editing during prep in any of the films  that you worked beside 1917.

thank you.

[Matt Stahley]

looks  good for your intended look. I like all the small battery powered lights available these days in replace or set near practicals as they are controllable for color temps and output and no risk of flickering etc. so basically lighting with practical positioning but using better lights/ bulbs etc. if that makes sense.

[Stip]

I think it looks great and has the mood you were aiming for. In my opinion one can get fantastic, and maybe even more authentic, results for night interiors (or exteriors close to a house) with clever use of practicals and no film lights.

[Frank]

Part of what you responded to may have also been a difference in projection, if the 4k restoration was a DCP and not a film print as it would have been 20 years ago, if the screening room itself had better viewing conditions, etc.

[dmullenasc]

Color-wise, you have to remember that color with a digital projector is additive, not subtractive as with a film print.

[jeff791107]

Hi Roger and all the masters,

I watched a movie that was celebrating its 20th anniversary with a restored 4K version shown in theaters. During the screening, I noticed that the visuals had more depth and finer details compared to the version shown from film copies, which I watched 20 years ago.

Could you explain the theory and chemistry behind this? Is it because the film underwent color correction with digital technology nowadays?

Even if color correction was applied, it wasn’t done on RAW or Log footage, and the available range for adjustments shouldn’t have been extensive.

Additionally, why couldn’t film from the past achieve the same level of colors and depth in film lab as we can achieve today?

[rama lingam]

Master Roger what kind scene you go for conventional master shot with full dialogue. You mentioned various scene. What kind of scene. For instance a group of people’s involving one scenes. You said there is no right or wrong. But people don’t consider any pre conceive idea. Finally i would like to ask about action continuity. Because some times filmmakers use non professional actor’s. That people’s doesn’t know action continuity. Sam peckinpah do conventional master coverage?

[Roger Deakins]

We would rarely shoot a whole scene in a conventional ‘master shot’. But that also varies depending on the scene as well. If it is of two people talking across a table then there is no reason not to cover the whole scene in your widest shot. Sometimes that is good for the actors to get ‘into’ the scene and prepare themselves for tehir closer coverage. But there is no one way to cover a scene and no ‘right’ way either.

[sanghamithran]

Hi master Roger,

Hope you are doing well.

Have you had a chance to see “oppenheimer” yet, if so, can you share us your thoughts on this film.

for me, I’d myself  watched it twice at theatre. one on medium quality imax (not laser or 70mm) and one on a normal theatre. yet Planning to watch it one more time before it goes out of theatre.

The film was so powerful for me in terms of it’s storytelling, Imagery, Sound and music.

Though i had read the biography the film is based as an audiobook before the film’s release. It felt like The film achieved something of an impact the book could never.

The most powerful craft on this film imo was the acting and The cinematography which portrayed the actors emotions so psychologically powerful to the audient.The Imagery felt so anew and powerful that I couldn’t take my eyes away at most of the film due to the power of it’s imagery. The tone made me feel like wacthing history itself made like a documentary rather than a cinematic palatte yet so cinematic, possibly because of the power or approach of lighting in this film, I suppose.Cause tenet or interstellar even didn’t felt this much powerful to me as an audient even though the imagery shot with same imax cameras.

 

Master Roger it would be great to hear your thoughts on this film if watched yet.

Thank you.

[Davinki]

Hello, I was looking for lighting critiques for this image I made awhile ago as I want to hone in on methods of lighting such as using controlled ambient lighting with practicals as I did in the image here with this only having top fluorescent tubes through a plastic screen, a lamp to the side, and festive lights in the background. The goal was to create something comforting but ominous and moody at the same time and I had much more grand plans but as per the contest I wanted to submit this in on time I had to go with whatever I could do so there’s that. I’d love to hear your thoughts.

[Stip]

I would guess the students you refer to still read a lot, though. The internet is one huge book. I used to collect hundreds of articles from dedicated filmmaking or cinematography sites whenever they contained something I found useful or inspiring.

Books have some advantages over the more fractured knowledge of the internet though.

[dmullenasc]

When I moved to Los Angeles at the age of 22, I used to go to the libraries at UCLA, USC, AFI, and AMPAS and spend hours reading cinematography books and magazines. I read every issue of American Cinematographer going back to 1920, I read every issue of International Photographer (later ICG Magazine) and every issue of the SMPTE Journal going back to the 1950s, I read three decades of British Cinematographer magazine, a decade of Super8 Filmmaker, years of Film & Video Magazine, Lighting Dimensions, and many short-lived magazines. And I read books, lots of books. I even read PhD dissertations on shelves if they were related to cinematography. Of course I don’t remember now a lot of what I read…