Search Results for 'no'

[dmullenasc]

I can’t imagine a Civil War history fan only reading a few books on the topic, nor a baseball history fan who has avoided most of the player biographies out there, and yet I run into cinematography students who just want to read one or two books on filmmaking, a subject that they are dedicating their life to. Absorb information wherever you can find it; what matters will stick to you.

[dmullenasc]

I love filmmaking books — I have two tall bookshelves full of them!  It’s just knowledge that you can choose to use or not use, but I don’t see any reason to avoid reading books. One of my favorites was written in the early 1970s about British cinematography practices and probably most of the information is outdated and yet it’s a window on a period of filmmaking that I love.

[Frank]

I’ve only read Blain Brown’s book on digital imaging and that was several years ago but I remember thinking at the time that it was an excellent primer. To Stip’s point, Brown’s books aren’t really prescriptive, he’s not teaching you ‘his’ way of doing things, the concepts are much more elementary and aimed at the beginner.

[Roger Deakins]

I’m not sure what you are asking. The film is about Bod Ford more than it is Jesse James.

[Rick Cook]

Just be mindful of what you say and when you say it. I’ve had Camera PA’s say things or ask questions that really got in my head in the moment and made me question my decisions. It can be really distracting and if the wrong person hears it, you could plant and idea that gives the assumption something isn’t right. Remember, the Department Heads and Keys have been on this project for a while, planning and discussion. It’s not really helpful for you to have an Idea that deviates from their plans. If you notice something is truly wrong (starbucks cup in the shot) Whisper into your Keys ear 😉

[Baudelaire]

Its funny but that is the thing that keeps coming out of the podcasts , there is no one way and also the process as an important life experience. Roger said something few weeks back that really struck me, about not wanting to spend months inside a green screen studio.

[Stip]

I can’t say anything about Blain Brown, just that books about cinematography (or filmmaking in general) never worked for me personally. They could be inspiring and great theory, but very seldom anything actually translated onto set later.

I think I learned more by listening to Team Deakins than from any book, e.g. it made me realize how differently people can go about the same task. Which made me more confident in my own choices or actions when they didn’t correspond to what I believed to be conventional.

This is not to discourage you from getting books, people are different and what didn’t work for me might work very well for you!

[Shea]

Hello,

I hope everyone is well! I am trying to look into books for general guidance/education and was wondering what your thoughts are on Blain Brown? I am only hesitant because they are on the more expensive side, but they seem to be popular. For those of you that have read anything of his, do you find yourself referring back to his writing during filming or post production? If you would not recommend him, why did he not work for you? Lastly, are there other works have you found helpful and would recommend?

Thank you!

[quijotesco24]

Every time I need to shoot with a new camera I haven’t I rent or borrow it for few days and test how much I can push the sensor. Lots of under and over tests, middle grey tests, colors tests, noise/iso tests. I also test all the codecs and frames I plan to do on set. I never go with a special LUT, always whatever log to rec709. And I test everything with my meters, I don’t trust monitors, so I know it’s consistent. If I’m lucky I take the tests to grading lab and I do some screening.

Sometimes I have even rent new cameras that have come out just for the sake of testing if I’m on a slow tide.

So my tip to keep it consistent is to do a lot of testing and notes. So once in a busy set you are not guessing and not losing precious time.

[quijotesco24]

Just a quick question. Did you get the funding without a script?
Before any style comes the story. What story is and what you want to tell with it. Then you can plan how to tell it, a budget of 100k€ isn’t that low for an indie production in Europe, if you keep other expenses at minimum you don’t need to shoot it ala Dogma 95 because there is no money.

[Roger Deakins]

I normally parked the mirror when I was lighting but it didn’t really bother me when it was rotating.

[Stip]

I know Roger and James like the cinematography of ‘The Batman’ but to me it left a strange taste when I left the cinema. It was visually stunning but also felt off and artificial. Later I learned that much was shot in The Volume, which explained the fake, video game-ish feeling it gave me. Combined with the many plot holes everyone was seemingly happy to ignore, it left me with a shallow impression.

But that’s just me and my growing dislike for anything fake in this growingly fake world; The cinematography is excellent and the vast majority likes it very much.

[harsanger]

Stay behind the camera and take notes of different workflows and responsibilities. People will notice you, trust me!

[hamza]

There are no spoilers for the film, I believe it was recorded before the Deakins team had seen the film.

 

Could anyone explain the difference between a production designer and an art director again?

[Stip]

Yea but stop asking questions should the going get tough, haha. You’ll learn so much just by being there and observing.

Usually, film crew are really cool people, so don’t worry too much. I only met a few bad lemons in 20 years.

One thing that you should avoid though is to make suggestions on something if you haven’t been asked, e.g. if the director and set designer discuss the color of the curtains, they’d probably not appreciate if you’d join their discussion 🙂