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[rama lingam]

Master Roger i observed Sergio Leone employed elaborate camera moves for some scenes only. Not entire movie. Could you suggest some of your favourite character larger than life movies.

[Gustavo Perez]

I could talk all day about Jarhead (I watched it for the first time in 2012 when I was 11). However, I’ll save you from that lengthy discussion!

I want to know what, if any, defined component of the story led you to decide to use 16mm?  Or maybe it was just a feeling you had in your gut that 16 could give you something you wanted.

[James]

Our DIT monitor is always a P3 monitor. Before we shoot, I have not only this monitor (and the back up) calibrated, but I also get the other monitors on set, which are normally Rec709, calibrated as close as possible. AND, I have the editorial monitors calibrated as well. If things start to drift during the production, I arrange for another round of calibration. It’s very important to us that everyone is seeing what we’re shooting since we are shooting it as we want to see it in the end. We don’t plan to “fix” things in the DI.

[Roger Deakins]

Whoops! I did mean to write north east.

[Max A.]

Thank you very much for your answer Mr.Deakins! It’s always fantastic to read from you.

I can’t wait to see some BTS photos to watch you at work and I hope for a chapter in the ‘Looking at Lighting’ section! Maybe in the near future, If I can find some frame and if I can post here on the forum, I’d like to ask you questions about some specific situation that you faced.

I would to ask you maybe a silly question, but if the lobby set was facing north-west shouldn’t the direct sunlight be present in the afternoon for a short amount of time? I assume that your start of the day would be in the morning.
Maybe (probably) my consideration it’s wrong and so I will learn another thing from you.

Ps. I loved very much the opening sequence.

Thank you very much again for your answer Mr. Deakins.

I wish you a peaceful day.
Max.

[Roger Deakins]

True, but you still need to have a consistent exposure of your negative. If you have a lab give you lights from an analysis of the negative on a Haseltine you will know where your exposures lie.

[Roger Deakins]

I used and HMI rig for the Doctor’s office and also for bounce light into the Lobby set. Otherwise, for Hilary’s flat and for the upstairs corridor of the cinema I used an array of 1′ x 2′ Gemini panels.

The lobby set was facing north west so I only had direct sunlight on the doors for the very start of the day. However, I tried as much as possible within our schedule, to shoot the lobby on cloudy days. I would control the daylight coming into the lobby with nets, when I wasn’t looking at the windows, and also, but less often, with diffusion frames.

For my floor package I chose to use five Fiilex lamp, which could be used as a Freanel or an open face with a front diffusion box attached.

Otherwise, I used a lot of LED tube lights, Astera as well as Double Rainbow, and Astera bulbs.

[Max A.]

Hello Mr. Deakins and all the forum members! I hope you Mr. Deakins and Mrs. James are well. Yesterday I saw ‘Empire of Light’ in the theatre and as I could imagine it was superb. Just thinking that behind each frame of the movie there is you made me emotionally involved.

As I expected I have something like a hundred questions, but If I could ask you some (for now 😁) it will be fantastic.

One question is about the light package that you chose for the movie, in some previous topics I saw that you chose some great led fixtures, both “point sources” and panels.
Have you used also HMI’s for day interiors for instance for Hilary’s house (that has both big windows in some rooms and small in the bathroom), or for the upper floor of the ‘Empire’ before they went in the room with the windows that has the view of the promenade outside?
I saw a light scheme from you for the roof scenes (night fireworks and day ballroom) on BSC and I saw that you used a lot of the led panels 2×1 so my curiosity is if in some instances that kind of lighting has replaced HMI’s.

Another question that I would like to ask you is how did you manage the big door glasses of the entry of the ‘Empire’. Was the entry of the ‘Empire’ facing to the north or you have constantly fight with the direct sun? When you don’t shoot directly facing the entrance, did you diffuse the glass doors to bring more light inside the lobby?
In the same interview that I read from BSC, I saw a scheme with a big overhang over the box office for 20X20 frames of diffusion/black.

I apologize for all of these questions, I am enormously excited and curious to read and learn from you. I hope I haven’t bothered you with my curiosity and I thank you in advance for your patience and above all for the art you give us.

I wish you a peaceful day.
Max.

[James]

We’re doing another live stream! We had so much fun with Greig, we decided to do another. This one focuses on documentary filmmaking and we’ll talk with 3 talented documentary film directors – Alexander Nanau, Matt Heineman and Alex Pritz. We’ve done podcast episodes with each of them and we’re looking forward to a group discussion now! We hope you’ll join us and add your questions to the mix!

It’s this Saturday, March 11th at 10 AM LA time, 6 PM UK time and 7 PM Central Europe time. See you then!

[giodashorts]

If you’re scanning the negative and not printing it, there’s no need to have a predetermined and consistent printer light. One of the things that will be important is that the settings on the scanner are carefully defined to maintain accuracy in digitally reproducing the negative.

[Tyler F]

@Roger — Ah I’m starting to see where there was confusion in my thinking. Printer lights and timing are completely separate from each other? I was assuming they were a part of the same process.

So if one shoots on 16mm (or any film for that matter) and scans to digital, then there is no real need for printer lights as that’s meant for projection?

 

@Quijotesco — Yes I’ve done something similar using Resolves false color to figure out ratios between background and talent or to see where the overall exposure lies within a frame. You’re correct though in saying that the final image is what you’re basing it off of, so if it was decided in post to take down the background 1 or more stops… you’re left up to imagination.

 

@David — That’s the most true statement if I’ve ever heard it haha. At the end of the day it’s not so much technicallities as it’s about the story and how we feel about it.

[TelevisionSky]

I found the podcast a few months back and have loved and learned so much from the back catalog — but it took this Feb. 14 episode of Fresh Air (https://freshair.com/guests/ruth-e-carter), to make me feel like I needed to create an account and reach out with something for the Forums.

For anyone who hasn’t heard it already, Tonya Mosley’s conversation with Ruth E. Carter (Costume Design, Black Panther: Wakanda Forever), is *SO* worth the time — and more than several times during the episode, I caught myself thinking “gosh, I wonder what the [Roger/James] follow-up question to that would be.”

For Team Deakins fans, I don’t know, there was something really cool about how this Fresh Air conversation really did seem to drift into similar terrain (not just the neighborhood of “how people make movies”, but more the “we’d like to hear your stories about people telling stories”). Of course, from a filmmaking point of view, the NPR interview gets frustrating because the closer they get to the tall grass of the whys and hows of a given movie, that’s when they have to move onto “…so your next project…”

It would be so great if you guys can make the stars align and get something like a deep dive sequel to this conversation to happen.

[dmullenasc]

Keep in mind that the proper or right exposure artistically isn’t necessarily a full or “normal” exposure – what’s more important is consistency of exposure across the coverage. That’s where the tools are handy.

[quijotesco24]

In Davinci Resolve you can use the waveform plus a spot selection tool as a spot lighmeter to gauge exposure. Same as you would do while shooting but in post.

We use it all the time to know what’s the exposure related to middle grey of all elements of a frame. It’s super precise in the sense that if you have tested all your workflow with the exact LUTs you will use (to know the toe and slope of your workflow basically and how and where all minus and plus stops from middle grey land in the waveform) then you can exactly replicate any image you want.

This is how I learn about exposure from others people frames. We have measured a great deal of your images Sir Deakins!

Of course you are measuring final frames with all the post work on them but it gives you a clear idea where different DPs like to put, related to middle grey, their skin tone, to know the ratios between bright/dark side, between subject and background…

The important part is that maybe you are wrong because they exposed in one way and after they bring everything down in post, but what the system allows is to replicate that image adapted to your workflow with the exact ratios used.

One of the post guys I worked with taught me this but I’m sure more people use this system and there must be a article/video about it. Otherwise I can post pictures showing it.

[Roger Deakins]

I am not quite sure what you are referring to. I could suggest a number of films with grandiose shots that serve no purpose other than as ‘eye candy’, but they should be obvious and I am not going to get specific here.

Leone would use both long held wide shots or a rapid series of cuts, depending on the scene and the emotion he was trying to create. I don’t know if he used ‘multiple coverages’, if by that you mean multiple cameras, but I suspect he was pretty sure what he needed before he rolled a camera.