Search Results for 'no'

[rama lingam]

Dear master Roger i have seen ‘without Limits’ movie. Shot by Conrad hall. He used more long focal length lenses for this movie. I want to ask you If you had shot that movie, would you have used a long lens? You are not great fan of long lenses. Right? If story demand would you use zoom lenses!

[xavijulez]

This is a really good question!

I would guess as the standard in cinema is still s35mm and stills’ “full frame” is more often thant not called “large format”, the standard would still be regarding s35 size.

I guess the answer to this will differ much between stablished dp’s who’ve working since long before digital sensors and young dp’s that have been raised on the dslr revolution. The latter ones may use as reference more often than not to full frame the others not. Let’s take into account “full frame” only existed in cinema before the Canon 5d mkii as VistaVision, together with other large format standards such as 65mm, 70mm…

[CamillaSH]

Hi! I’m pitching for new TV series, to direct, a psychological thriller with horror elements where one of the main settings is a house at night. They liked my moodboard, dark and moody,  in the first pitch meeting but the producer has two concerns, that are somehow conflicting (not surprisingly!) How to make the darkness visible for the small screen/TV and how to how to shoot it from a practical POV as it will be a tight schedule. We’d all want it to have a cinematic quality,  with atmospheric wide shots, and alluring/bold close ups. I’m thinking about working with costume and art to bring in light elements, and work with practical lights and light sources from moon/ street lights, to create contrasts rather than just darkness. We’ll shoot the house own location, but treat it as a stage, so probably black it out and light all the interior shots/scenes,  but for the ones where we’ll see the outside.

I would be grateful for any good advice and tips!

Best regards, Camilla

[Hans]

I’ve never shot with the Alexa LF. But I did shoot video with the Canon 5D mkII, also a full frame sensor. With low light I often found that the full frame sensor offered too little depth of field. The background would blur completely and isolate the person too much. You loose the sense of background completely, that’s not how our eyes see things.

[dmullenasc]

Larger and/or closer is softer, though too close and the rapid fall-off is noticeable, so just larger for softer is better. If the bounce amount is too much, you can either dim it by stretching a single net scrim over it (so you don’t have to back it up), or you can use a less white material such as Day Blue Muslin (or Day Grey), even a dirty unbleached muslin would be less bright if you also want some warmth.

I find that large Day Blue Muslins add subtle cool fill without looking obvious.

[LucaM]

I suppose every story is different, but i’d say that with Internet, video calls and so on it’s easier than in the past to get in touch with family and friends even when far away from them.

Without knowing nothing about you and your story i could be wrong of course, but i’ve the impression that it’s the magnitude of the new adventure you are going to live (going to university, living abroad, leaving your world behind for some time, etc) that is somehow scaring you, more than the fact that it’s a different country. You know, that kind of “worried excitement” before a big jump.

Live it like Bilbo would do : run away without a handkerchief shouting “i’m going to an adventure!” . 🙂

[andersoncine]

AWESOME,

também estou no aguardo..

 

 

abs

[Shea]

Hello!

I hope it is okay to ask for some advice as this is not directly film related, but something I figured many of you would be knowledgable in. I recently chose a university overseas to study film and was wondering if anyone has words of wisdom they would like to share. I am quite nervous about being homesick, in a different culture, and feeling anxious in a completely new setting. I am sure many of you have been on film sets far away from home or have been abroad for a longer period of time so I was wondering if there was anything that helped you find solace or ease in your distance.

I will be in Glasgow, so if you are familiar or would like to share some fun things to do I would love to hear.

Thank you!

Shea

[quijotesco24]

Not Roger but in my opinion if You feel the bounce too much is because it’s too small for your subject/s. Being small relatively to your subject it feels very sourcy and doesn’t wrap around much. But sometimes you want that hardness. Neither way is better or worst. Depends the situation.

Same thing as the position of the bounce, light side or shadow side or even frontal. Depends the situation. But personally the first thing I’ll try to do it’s to bounce from light side. And it stays there most of the time. But sometimes I use bounce on shadow side too.

[GianniRanzuglia]

Hi all,

I’ve read a few articles and had conversations with colleagues about photographs, or movies in black and white. And one of the general conclusions reached about the use of black and white, is that it reveals more character and emotion within a person or setting, than what colour can.

Do you guys agree with this statement? I feel like this statement is true for certain projects and works of art, but surely not as a general consensus right?

Thank you all for your time!

[Roger Deakins]

I have used a Lumix. Why not? I don’t believe the ‘brilliance’ of your camera is as important as what you point it at. I like my Leica because it is a very simple camera with manual sttings and a prime lens. The lenses are great and the camera’s resolution is wonderful but that’s not the most important thing.

[Carlos Sandoval]

Hello, Roger.

I am a street photographer (not a very technical person); Iused to think in the old days that equipment meant everything. Not now, clearly.

I started out with a Pentax k 1000, developing my own B & W film stock in a darkroom, back in the day.

I was just listening to an episode of your podcast, wich I loved, where you and Jim Plannnette talk about simplifying. That is true in my experience when it comes to the equipment I use, and, of course the one I can afford.

I am currently using an old digital camera that a friend gave to me, second hand: Panasonic Lumix DMC-LX100, 12 MP.

What do you thing of people working with what they have at hand, and trying to make the best possible with that?

Of course, experimenting and getting to know every aspect of the camera you are using, to work on the things you are trying to create. Using tachnology as a means to get there.

Thank you, and I wish nothing but the best to you. Cheers from México, sir.

[jhenning]

Hey Roger,

I am curious what your overall philosophy is on placement and size of a bounce for daylight exteriors is. I feel that the tendency of key grips is typically to place a bounce on one side of camera, usually the opposite side of the 3/4 backlight, but at times I feel this ends up with me “feeling” the bounce too much. Usually I am am more interested in lifting the shadow area evenly so as not to feel the directionality of the bounce.

 

Also, a follow up. Do you tend to use diffusion material to soften the sun on a subject when they are more front lit?

 

Thanks!

[LucaM]

If any of you is a Sony user or anyway has some knowledge about its picture profiles, i’d need some advice! I searched a lot on the web and i’ve found very confusing informations. I know it’s a niche subject but given the number of videos i found about it i’d say it’s a very common problem , i hope of general interest for forum readers…

What i’m struggling to understand, even after a lot of internet research and personal tests, is which profile setting would help me in reducing the noise with poor lights.  From what i’ve read s-log profiles should be avoided in these scenes, requiring a lot of lights, but from my simple tests with my Sony 6400  i found no great difference noise-wise between cine, hlg and slog : with same exposure and lights they seem to produce the same amount of noise.

Even if i am  a beginner i liked so far the result of color correction i obtained with all the profiles , but the noise is still a problem and before resorting to more lights and ND filters (or noise reduction softwares) i am looking for a better way to use the camera.

Any advice? Thanks in advance!

[Abraham]

Hello everyone,

Tomorrow’s episode of the podcast features Jim Plannette, a gaffer with a decades-long career spanning across many well-known and well-regarded films.

Feel free to discuss the episode with each other here!

• This topic was modified 2 years, 7 months ago by Abraham.