Search Results for 'no'

[James Parsons]

2007 YouTube would not have been a major marketing platform yet. Not even 720p for another two years.

[dmullenasc]

35mm trailers were prepared in both 1.85 “flat” and 2.39 “scope” to match the feature presentation so that the projectionist would not have to change lenses and masks.

So clearly in this case the studio marketing division had access to an “open gate” D.I. master to make the 1.85 trailer (and any 16×9 unletterboxed versions needed.) of course, they should have made a 1.85 flat trailer with a 2.39 matte.

[LukeJ]

Hi Roger (and others),

Here’s a tough one. I am looking for possible approaches and ideas to this tricky lighting situation. I am shooting a 1800’s period film in the ballroom pictured below. The room will be blacked out for night and filled with 50+ extras. Since it is a historic building, nothing can be rigged to the roof and candles are prohibited. The only practical source of light I have are the chandeliers on the roof which basically flatten the whole room and cannot be dimmed, they’re either on or off. I have looked into using LED candles as practicals around the room, which 1: look horrible and 2: I would need 100’s to generate any source of usable practical light. Any moonlight or ambience through the windows is not possible since the building is on the 30th floor…..

My first instinct is to dress the tables with a period appropriate practical source such as a lantern or something similar and cheat the inside with a bulb.

Any input or suggestions would be much appreciated! (please keep budget in mind when suggesting things, it is a shot film….enough said..)

[umbrella]

Almost every DP or Gaffer I know used to use Dark Sky to track weather conditions when shooting outside. You could see impending rain or cloud coverage and time the angle of the sun perfectly.

A couple of years ago Apple bought the app and “integrated” it’s features into their weather app (but not really).

So I’m curious, what apps are you using nowadays to track weather?

[GianniRanzuglia]

I’d suggest you take a look at the films of Guillermo Del Toro. The way he uses not just colours, but also geometric shapes throughout his films is always justified. In “Pan’s Labyrinth” he contrasts the real and magical world with yellow and blue, he carefully planned out “The Shape of Water” to have a colour palette of aquamarine, cyan and green, which is rarely contrasted with gold (Giles apartment). But in “Crimson Peak,” he only uses the colour red for the ghosts, clay, Lucille’s dress and blood, other than that, we never see the colour red in the rest of the film. These are only a few examples.

[umbrella]

I noticed recently that the original trailers for the film are an “open gate” 16:9 — ie. not pan and scanned, but actually show more image than the final film.

Example.

Was this simply some sort of weird studio decision to conform to internet standards (YouTube only supporting 16:9, it being more common screen size, etc.)?

Or was the film designed for 16:9 or 1.85:1 and the decision to crop to 2.39:1 an after-thought?

Thank you.

[Stip]

I like “Nocturnal Animals” from Tom Ford (fashion designer/filmmaker). From casting (he seems to love to arrange colors around Amy Adams hair) over location to set design and costume, there’s always a delicate combination of colors within a scene/shot. Neither distracting nor driving the story,  just great taste in colors.

https://www.youtube.com/watch?v=JOsEU5oYpTA

 

[Roger Deakins]

The river work was done during the day but with quite dense cloud cover. In that we were lucky as we had one day to shoot and it only clouded up at mid afternoon. If I had thought we could have shot the rest of the transitions between night and dawn during full daylight I would have done that. Trying to shoot complex shots in a window of about 30 minutes is quite stressful.

Yes, there are certainly many things you can achieve in the DI and using effects but, personally, I prefer reality.

Maintaining contrast on a cloudy day? If you want more contrast then, yes, use negative fill or a lamp. But there is no rule and you have to make that judgement from script to script and shot to shot.

[Roger Deakins]

I’m not sure what you are referring to specifically. Objective? In what sense do you use the word and can you let me have specific examples.

[Roger Deakins]

You should just experiment with the par light as you seem comfortable with it.  We all have different ways of working so it is not for me, or anyone else, to say what is ‘best’. I have used par lamps to bounce and as a direct source, whether through diffusion or simply raw so its not that I am against the lamp I just have my own preferences in certain situations.

[Roger Deakins]

I carried a couple of Red Heads when I was shooting documentaries but to augment daylight might be a stretch. of course, it all depends on the level of daylight and the width of your shot. By the time you color correct the lamp and push it through diffusion you are not looking at a very powerful source.

 

[Davinki]

<p style=”text-align: left;”>Hello, so my goal is to supplement daylight to make the frame feel natural but alive in a cinematic sense as I feel no lighting can make a frame feel kinda dull unless done with special care like the new naturalism types like Lubezki and Richards. Also to help the lighting for a scene stay consistent over time. With all of this in mind, I found a light that works within my workflow of being small, versatile and relatively powerful but on that last part. I realize I would need to have a much bigger light that I would have no chance of packing in a backpack, but rather, supplement daylight close up, handheld like you would with a sun gun, would a redhead or equivalent, through a lantern be enough to keep up?</p>

[umbrella]

Always struck by the richness of the blues contrasting with the warmth of practicals in True Grit and in No Country For Old Men.

I’m curious what sorts of gels are used for the moonlight to achieve this look? Simple CTB?

Thank you

[quijotesco24]

Exposure is an artistic value, so it’s open to many interpretations and there is no wrong or right.
In the scenarios you explain you could expose for a base exposure and let the flashes, thunders or flashlights completely overexposed. You could exposed for those and let the base exposure very under, so you only see characters when they get hit by light. You could split the difference and be at midway. You could overexpose characters like crazy if you want too, which brings me to that Trent Parke famous photo of an old man dressing white and very overexpose.
It’s up to you to choose how to expose and your guideline should be the script or story you want to tell.

[Luca_HC_Gruber]

Dear Roger,

last night I had the absolute pleasure of watching Empire of Light for the first time.
The irony of it was, that the projectionist messed up and we waited a couple of minutes in absolute darkness. But aside from that it was absolutely enjoyable and a very moving picture.

I tried not to think to much about the camera work while watching but got taken out of it for just one small moment.

When the National Front mob attacked the cinema staff I think I noticed a change in the motion on the shot of Norman being pushed to the ground. Something about the motion blur seemed a bit off, as if the shutter angle was greater than 180° or perhaps the clip was shot for a different framerate than being shown.
Perhaps I’m seeing something that wasn’t even there and It was all fine, however I wanted to ask if you recall any abnormality, a small thing that bothered you in post production like this issue I think I spotted, since I can not examine the moment of the film so easily again.

Thanks for your time and congrats on this beautiful movie that moved me to tears.