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[Roger Deakins]

They are quite uneven in their beam shape and a single unit is not as efficient as a 650 Red Head or a 2K Blonde. If you use multiple par bulbs in a 6 or 9 light you will struggle for control. Now, a Maxi into a 12′ x 12′ can work but that is when you are working at a larger scale. I have bounced a Dino and a Wendy light on a large set.

[Roger Deakins]

While it may be an interesting idea to study the composition of those three great directors it could only be a very limited and personal ‘practical demonstration’ of what constitutes the greatest shots. I will not start a list of what I would consider the ‘greatest shots’ as it would take me far too much time but Sergio Leone? Tarkovsky? Zvyagintsev? …. And in 10 minutes! I wish it were that easy!

[Roger Deakins]

‘Eye candy’. Yes, I think color is often just ‘eye candy’ and both a distraction and an excuse for a lack of something else. On the other hand, there are great photographs as well as films shot in color.

As for the eye line. I can’t imagine there is a single shot in ‘Psycho’ that was not deliberate and also drawn out in advance. I’m sure there is a storyboard somewhere.

[Roger Deakins]

I don’t know that there is any right or wrong way to practice cinematography or anything else for that matter. Though, maybe, that is not true of yoga or marathon running etc.. I would say to watch as many films as you have time for, study the work of as many painters and photographers as you can, and just shoot! Edit what you shoot, see what you like and what you feel was a failure and then try again. And again! And again! There are no tricks or easy answers.

It was once suggested to me that if I could light a human face I could light anything. Perhaps that is true in the sense that a film is generally dependent on the characters depicted within it, so it’s not a bad idea to concentrate on the face. But cinematography, visual storytelling, is not only about portraiture.

[Roger Deakins]

I don’t think you are overthinking it but only you can say for sure! The lamp you use is preferably one that has a even spread rather than a hot spot and an uneven surround . I would use a Fresnel when in close and required some control of the beam size and intensity but an open face light when I was after something more substantial from further away. Personally, I do not like using a par as a bounce light.

[Roger Deakins]

This particular scene was lit by the overhead florescent tubes as you suggest. The idea of this kind of lighting came from a location we scouted before we built the set. I did add an extra 2′ tube to soften the light from these fixtures depending on the camera angle but that was all. In fact, I did use some small squares of black cloth to reduce the natural bounce off the set walls.

The small conical shades, and the paper hanging off them, that are the main source of light when the projectors are in operation, were also a mirror of the way the lighting was rigged in another working location that we scouted.

[Roger Deakins]

I thin k you could simply shoot this with black velvet drape but I would be careful about what your character is wearing. If the black is not dense enough you should be able to crunch it with a window in timing. You could shoot this inside or at night outside. You only need black in the area directly interacting with the character.

 

• This reply was modified 2 years, 5 months ago by Roger Deakins.

[quijotesco24]

I was discussing exactly this with some people the other day.
I think the tradition here in Europe has always been to do stories more anchor to the reality. And when I say Europe I also mean US in a way. I’m not saying there hasn’t been mind bending reality stories from writers or screenwriters from Europe but the vast majority it’s attach to reality in a way or another.
This is one of the reason I’ve always like Latin America writers, they mix genre way better than Europeans to me, they are more open to crazy stuff and that also applies to Asian writers. Specifically Japan has lots of social and super down to earth stories but at the same time as you mention the Anime and Manga power has been super crucial.
I’m from a generation that really was the first to get all the crazy Anime in Europe. I still remember watching “Akira” as a kid but we were very few into that. Nowadays there is no kid in the world that isn’t watching anime and yes, there is a lot of anime out there, some are more attach to reality but other is completely insane stuff.
This is one of the reasons, I think, a movie like “Everything Everywhere All at Once” can become a movie for the masses. When I was watching it with my partner (an anime fan) our first reaction was that it literally was an anime remake or something. It’s a live action anime film. And its success is because masses are used to watch anime and its crazy stories. This movie just 10 years ago it wouldn’t have been such a big hit.
Still, I didn’t enjoy it as even when watching anime I like attach to reality stories.

 

[Stip]

Sounds great, too! The Japanese have such a pronounced love for creativity, it’s quite different to Europe. Something that’s considered mind bending here seems to only cause a weary smile in Japan. I believe their manga culture is a major driver of constantly moving cerebral goal posts 🙂

[quijotesco24]

Huge Kore-eda fan here. I’m a bit down for his last one as I didn’t like it much tho!

I don’t know the budgets his movies manage but I wouldn’t consider them low budget.

As we are all on Japanese mode I would recommend “One Cut Of The Dead” (2017). Super low budget film. It’s a zombie film so bear that in mind. But the script it’s so good. It’s shot with small ENG cameras so the cinematography is crazy handheld. But it’s a masterpiece for how they pull it out. Recently they even did a remake of it in France. With big actors and a lot more budget , haven’t watch it yet but the low budget style sometimes plays in favor of the story.

 

[dmullenasc]

I use weather apps for the weather. I only use the Artemis as a lens preview or a lens finder that can record video or stills. I’m not aware of other features like drawing lighting diagrams, seems like that would be done on other apps.

[Jakob Webb]

I’m shooting a film where the character is inside a “rabbit hole” and I wanted to get some inspiration for it. Does anyone have any ideas on how I could achieve a shot like this on a budget and have it look realistic.

Also does anyone know any shots from movies / music videos where they do this? and if you have behind the scenes knowledge on how they did it please let me know I’d love to hear it!

 

[Jakob Webb]

I’m shooting a scene for a short film that requires a black void location. In the scene the character has to be poking out of a gap, but I don’t want these walls creating the gap to be visible.

I was thinking maybe I should shoot this outside in at night but I am also renting a sports hall to film another scene in an I’m wondering if I could use that somehow?

Does anyone have any ideas on ways I could achieve this?

 

 

 

 

[Stip]

That sounds wonderful, I love Japanese cinema but don’t know that one!

This reminds me of “Beyond the infinite two minutes”, also a Japanese movie, Shot in one location. It’s Shot in one take but with marvolous, typicall Japanese twist. During the end credits you see how they pulled many of the Shops off – with sheer and hilarious creativity.

 

[dmullenasc]

I use it as a lens finder. The problem with normal lens finders is that you line up the shot and then hand it to the director or camera operator to see but you don’t know if they are really framing it the same way. We use the iPhone Artemis on scouts or in prep to figure out the lens choice but on the set we use the Artemis Pro which allows use to mount our actual lens onto an iPad. This way we can line up the shot with the director watching and record the blocking rehearsal. We can store video or still frames; if done earlier with stand-ins, these can be used for a storyboard.