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In reply to: Exposing a “heavy negative” on film
Articles at the time mentioned 100T film being used for day exteriors on “No Country for Old Men”.
You can get a denser-than-normal negative by either rating the film ISO slower or just increasing the exposure after your meter reading, it’s the same thing. Or by extended development.
Hi Roger!
During your podcast episode with Bev Wood, you talk about how you liked to get a “heavy negative” when exposing on film, and that your printer lights usually were around 29, which I take it means that you are intentionally overexposing the film and then printing it back down. I was curious what this meant you were rating your film at.
On Vision 3 film for instance, I know many DPs who feel that the “box speed” ASA is too high and that rating 500T at 320 or even 250 ASA will produce more accurate results. Similarly I’ve heard that 250D is better exposed at 160 or 125ASA. On something like “No Country for Old Men,” which I believe you’ve said was shot entirely on 500T, what did you tend to rate the film at?
Hi Roger!
I read in one of your posts that on “No Country for Old Men,” you shot with Cooke S4s but used Master Primes for the night scenes, as they open to 1.3. Why didn’t you want to use Master Primes on the day scenes as well?
This is a room for medical experiments. I’ll shoot all the equipment and the whloe room.The whole place is a little bit mess and narrow,so I wonder how I can make the room in my flim feel large and some technology style.In composition,lighting or camera motion.
btw I’ll have some RGB tubes to make some blue light,a 1.8 HMI with some 1/4 CTB,two 300w LED etc.
Thanks for suggestions.In reply to: Eyes Wide Shut Moving Mirror
”Eyes wide shut”
Yes, you can see the cut out where the lens is.
it’s only a fraction of a second, I wonder if that was necessary as most people would not have noticed the Matt box. Stanley was a perfectionist and wasn’t worried about expenditure so he thought why not!
Topic: Eyes Wide Shut Moving Mirror
Hi All
In Stanley Kubrick’s, Eyes Wide Shut, there’s a scene where Nicole Kidman’s character is staring at a mirror before she opens the mirror and retrieves a small bag of weed hidden inside the compartment. While she does this, the mirror swings open and we should see the camera but we don’t!
How did Stanley and his team hide the camera from the moving reflection, CGI wasn’t available back then, are there double mirrors involved?
I’ve attached a video of the scene for reference. Note that I’m not referring to the use of spiral composition that is mentioned in the video.
https://www.youtube.com/watch?v=-QWcKo2IyLU
Thank you all!
Hello everyone,
Tomorrow, we will be releasing the newest episode of the Team Deakins Podcast featuring steadicam and camera operator Dave Chameides, who worked on TV series such as ER, THE WEST WING, and SNOWFALL.
Feel free to discuss the episode with each other below!
In reply to: Now YouTube Video 6/17
Very pleasant and interesting! No questions about lighting but a lot of good questions in my opinion, and very informative answers.
It felt to me to have a good chat while watching the whole video.Thank you so much for sharing Mrs James!
I wish you a peaceful Sunday,
Max.In reply to: Very minimal lighting
In reply to: Very minimal lighting
Great work! Love the daylight interiors. Most DP’s shy away from using no or little film lights but I too prefer when they start from the minimum (nothing) and work the way up only if necessary.
In reply to: Now YouTube Video 6/17
Thanks for posting, James.
Another great insight into the industry – from ‘pet peeves’ on set to considering creative ways to shoot dialogue to James teaching us the difference between ‘Bunnies’ and ‘Playmates’ – very entertaining!
In reply to: Aggressive Color
Cinematography in narrative filmmaking is always (sure, nothing is “always” or “never”) about the story, the characters, the setting, and serving the director’s intentions in bringing those elements to the audience. I don’t think there’s any such thing as a situation in which “aggressive color” or a muted palate is a must or is forbidden. You could tell a modern western noir lit in pulsing neon or in sunbaked sepia. You could tell a mind trip fantasia in swirling pastels or in black and white. It all depends on how the team of creators from writers to production designers to actors to the director and cinematographer agree they want to approach it.
Topic: Now YouTube Video 6/17
Thus Saturday, June 17th, a new video will post to the Team Deakins YouTube channel. This will be a recording of a Q&A we had with university students in SMU, Dallas.
It publishes tomorrow and this will be the link:
In reply to: Alex Garland guest?
In reply to: ‘True Grit’ – Courtroom – Ceiling rig
Thank you very much for your reply Mr. Deakins! I know you are really busy around the world and really appreciate your answer (priceless).
“In a case like this I will ask for a rig to be put up knowing it might only be necessary for…”
The big lesson for me here is this concept, too often, also if I do often just small productions I do things during the day by watching on the frame, and often the result is a lot of stands and cables around.
When I saw the photo of the rig I thought about your possible idea to have a “clean” set and lamps “ready to use”.Thank you again for your reply Mr. Deakins, and thank you as usual for your kindness. Reading from you is always fantastic.
I wish you a peaceful day.
Max.
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