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They are not and it’s a very nice thing. Only problem could be, for many readers, that since they must be shipped from US the shipping cost is quite high (to Italy it equals the cost of the book). So for many people it could be an alternative to order a regular (not signed) book directly available in their countries. And maybe wait for a local signing event! 😉 Also considering that the ASC, from what i understand, has a limited stock of signed books, which is perfectly normal.
As for me i asked the signed one to my wife as Christmas present, ah ah!
Would be really happy to buy this book, but unfortunately physical one only sells in the USA. Quite sad.. I hope It will be possible in the future! There are a lot of people around the world who are interested in Rogers work.
Do you mean the signed copies or the “regular” ones? The signed ones can be ordered from ASC site and they ship worldwide (i think), regular ones should be available in many other countries. Did you check on your country Amazon for example?
I leave the technical answer to the experienced people on the forum, but what i noticed – as potential viewer of your short – is that the two rooms gave me two completely different feelings. I know nothing about the story of your short but they tell me two different stories. The guy living in the pink room bathroom can’t be the same one living in the creamy one. What do you feel is the actual bathroom of your character? Are you going for a very armonic shot or for something with more color contrast?
By the way, i don’t how much my opinion is relevant (very little, i am afraid) but i prefer the pink one, the window behind the actor creates a nice effect around his head and i like how the stripes on the wall point towards his face. It seems a more interesting composition. So i’d go for the pink one with some light on the mirror, i don’t think it will be very complicated to add them, if you are allowed to do that. But the lights in your shot is nice as it is (again, my humble opinion) , did you experiment some solution with that window and the mirror? You could color somehow (with a gel for example) the light entering from the window to reduce the pinkness of the walls or coloring the light from the mirror to the face. Perhaps it won’t solve your problem but i think it could offer some interesting effect.
A good advice i read time ago (i can’t remember if here or on another website) is that darkness and shadows appear darker than they actually are thanks to contrast with something brighter in the same shot. You could use this trick, if you can sneak something bright in your dark scenes.
I think a black satin/silk fabric could be useful to create some discernible texture, they have a deep black color but with some reflectivity.
How to remove the darkness?
With some kind of…uh…light?
Lame jokes apart (but i suppose you’ll have to use some kind of light to make the abstract texture noticeable), it seems a very interesting project. I’m curious to know what Roger would do in this case.But if i didn’t misunderstand what you were describing, isn’t it a bit risky to get so close to complete darkness for so much time? I mean, if one will watch it not on a perfectly calibrated monitor but on a tv or a pc with a slightly lowered brightness or, even worst, on a tablet with a variable brightness, would he still be able to discern something in the almost complete black of the screen?
I don’t know if it’s an useful information for the other european forum users, anyway i wrote to the ASC to ask about the shipping cost to Italy for the signed copies of the book. They said that the shipping cost to Italy, through UPS or DHL, is something around $46. I suppose that will be, more or less, the same shipping cost for other european countries. I hope it helps!
Did you get your copy?
Looking forward to read it but it will published on november 11th and won’t be here sooner than next month (but i am a bit sceptical about that, we’ll see) . 🙁
Thanks Stip, i think It’s a good advice to see what wins at the end, their emotional power (i like this way of thinking!) or the annoyance for their imperfections.
I am afraid that i need to become a way better cinematographer but also a less finicky person at the same time, ah ah.
Thanks a lot Stip!
I noticed that too, looking at scenes with fresh eyes, after some days, helps me a lot with editing. I really love that kind of shots, like Ozu’s pillow shots (like the famous vase one) , the ones in the original Ghost in the Shell or, as you said, in Miyazaki’s works. Surely they are way more common than i remember (for some obscure reason your post made me think of a misterious tree full of symbolism…) but i associate them mostly with japanese movies, it seems. They are like visual haikus, to me. I didn’t know they have a word for that, thanks for teaching me that! 🙂
And yes, it’s almost a “one man show”, i’m doing everything but acting : luckily i’ve some friends with years of experience as theatre actors that helped me, they really did a great job even with my poor directing skills (but it seems that they had a good time working with me and they offered to work again with me on the next short). So i had to learn everything from scratch in every area of a (very small) cinematographic production: from script to sound mixing, from production coordination as a producer to lights wiring as a gaffer.
It’s an horror short and i think these “pillow shots” really add something to the mood (and, jokes apart, i really love that famous shot in Prisoners, it creates tension in an abstract but powerful way). My problem is that – even if i did my best – some of the shots have a poorer “visual quality” (camera movement not so smooth, no enough head room, a boring point of view, contrast ratio on the face too even to suit the story, etc etc etc) and i’m not sure about using them, even if they could add something to the narrative element.
Thanks a lot Roger! I really love the elegance and simplicity of the cinematography of that movie, i think it’s perfect for the story without being too evident and attention demanding. As an exercise i’m storyboarding the dialogue between Meryl Streep and Viola Davis, one can learn a lot from that scene in terms of…well, everything, it’s perfect.
I wonder if Amazon will sell copies intended for sale in the States. It is a mystery!
Searching on Amazon (i checked on italian, french and german versions) there are two different versions: one from Cassell Publishing (actually Octopus Publishing) to be published on february 12th and one from Grand Central Publishing to be published on november 11th, both properties of Hachette. On US Amazon there’s only the one from GCP. So it seems that the GCP one is the american version (a bit cheaper) and the Cassell one is the european version (a bit more expensive).
My wild guess is that in Europe we’ll be able to order the GCP version on november but it will be shipped from US .
But the strangest part is that italian amazon says it could be delivered on november 19th and in general they are quite timely on delivery here. A week to deliver it in Italy from US ? The mistery deepens! Stay tuned on november to discover the shocking finale of the series! Ah ah!
No shame, cinema Is so full of great works that it’s impossible to know everything. I am in your same situation and i discovered great movies thanks to the forum and the podcast. For example thanks to Roger i discovered one of the best movie i’ve seen, The Silence of The Sea (the original clandestine movie by Melville). 3 people closed in a room and only one talks. I would’ve never watched it on these premises, but Roger quoted it, i trusted his knowledge and i discovered an absolute masterpiece.
November in the US and January in Europe.
I don’t know if it’s of any relevance but italian Amazon page says it will available in November here, i hope they didn’t mistake publishing date and european availability date, ah ah! The excerpt of the book are great, looking forward to read and re-read it!I bet it will become the Bible of the present and future generations of cinematographers!
Thanks a lot Stip! I apologize if i misunderstood, i was referring to the LUTs that are used in post. Your example helped me understand, but unfortunately i can’t use this approach with my camera since it can’t show LUTs (this made me misunderstand), so i am forced to more or less guess what the final look could be After grading. I am planning to update my gear for the next short and i’ll keep in mind the show LUT technique.
