Search Results for 'no'

[Al Duffield]

Ahh the M9.. I miss mine, the straight out of camera B&W jpg and that satisfying shutter release & recock sound. I’ll buy another one day.

[deenankathiravan]

Michael Mann’s “HEAT” (1995) [DP: Dante Spinotti]

[Roger Deakins]

It isn’t that the director is not concentrating on the story, well it wasn’t in the case in point, just that in discussions we had agreed on a set of ‘rules’ and we each kept each other on track. That kind of back and forth exchange of ideas is when I am most happy on a film.

Yes, I was looking to direct a couple of projects but some years ago now. The problem is I love being on a set and working with a great team, so when offers came up that I couldn’t turn down I didn’t.

[LucaM]

Roger Deakins wrote:

In my opinion being a cinematographer requires a high level of fitness. Age probably is a consideration when a producer and/or a director is hiring but, as I only learn of the offers that come to me, I have no idea if I miss out on a job because of my age.

Is it because you do your own camerawork?

[LucaM]

Roger Deakins wrote:

Absolutely! A beautiful sunset doesn’t necessarily further the narrative.

In one of the first podcast episodes  you talk about telling a director that the cool shot he wanted was didn’t suit the story and you rejected his idea  (i am going by memory, sorry if i am not correct). I find it very interesting.to see a DP “stepping back” to preserve the story. In my ingenuity i thought that should be the director first interest, not the cinematographer’s one. You were caring about the story more than the director himself.  Have you ever thought to direct your own movie?

[quijotesco24]

Im not aware of any specific book or article about the use of b&w in actual times but I’m sure there must be some paper on it. You could also expand the search not only about cinema but also photography. Dig on John Berger as he must have something on this topic I’m sure.

I can only think of some of the reasons some directors or photographers have said on this matter. Quickly comes Nolan and his first movie, where he said it was for economic reasons, not only film and dev is cheaper compared to color but b&w also ease on production design hiding and lighting equipment is cheaper when no color is taking into account. Or when Eggers used b&w for The Lighthouse as simply stylistic choice. 2 completely different uses of b&w. Into the photography world many photojournalists not shooting breaking news in the 90s/00s or even today still shoot b&w. Each has its own reasons but many said they choose b&w because when you removed the colors on a picture all it’s left are forms and shapes. No colour to distract so an image have a deeper meaning. Also following this, my opinion, we humans don’t see in b&w so when we watch a b&w image we know it’s a representation of reality, not the reality itself, and thanks to this we are more open to absorb the interpretation or meaning the creator decided. Up to a point of course. As any image, moving or not is ambiguous.

[MaxSmoliner]

Hello everyone,

I am working on my thesis Paper about B/W Film in the 21. century and was wondering, if any of you knew a any good articles, interviews or books about the “why” of black and white.

I certainly know why i like to work in monochrome, but thats probably not enough to satisfy my professor. Any input is greatly appreciated, thank you so much!

[GianniRanzuglia]

Amazing! Thanks for your time and knowledge Sir!

[Roger Deakins]

They had just been very close! Now, Ellis is feeling confident and satisfied while Hillary is a little confused, probably a little angry and also sad.

[dmullenasc]

I would say because it’s not a scene about intimacy, it’s about an imbalance of power — he’s in a single chair, she’s alone on a love seat.

[rama lingam]

Dear master Roger i saw ‘Empire of light. I want to ask about the scene where Hilary and Donald Ellis make affair then they have drink and conversations. why did you and Sam gives that much of spatial distance for both characters as well as not intimacy much. Here by have attached reference frames.

[rama lingam]

Dear master Roger you mentioned you and Denis discussed  the sky being empty and not very present in the imagery. I would like to know what do you mean sky being empty. Do you mean plain white sky or blue sky?

[Davinki]

Oh, I thought that since the master anamorphics seemed to have solved every issue you have with anamorphic lenses that they would be your first choice but I guess not

[Roger Deakins]

In my opinion being a cinematographer requires a high level of fitness. Age probably is a consideration when a producer and/or a director is hiring but, as I only learn of the offers that come to me, I have no idea if I miss out on a job because of my age.

[Roger Deakins]

We initially talked about the sky being empty and not very present in the imagery. However, we were shooting during the monsoon season and it became obvious that we would frequently get ‘interesting’ skies so our approach changed. Then the landscape definitely became a character for us.