[M Ryan]

Have to say, Spider Noir was a hoot – watched the colour version, and it looked great to me – tons of dutch shots, split diopters and a general “deep focus” vibe – good story, great acting, lots of fun. Pleasantly suprised 🙂

[M Ryan]

No idea, but all the people running around slapping their heads says probably! Combined with a cheeky editor lol.

[M Ryan]

Hey James, have also wondered how Melville and his team did some of these moves – and have also found some photos of him outdoors on a city location with a big television pedestal style camera mount… some of those beautiful camera swoops are so well controlled and weighty feeling it had me also wondering how they pulled them off.. I am suspecting like you it was the hydraulic moviola type stands and tv pedestals, in combo with some awesome grip work – but also wonder if there were some custom contraptions – film techs do tend to be inventive types after all!

[M Ryan]

Get a fully manual camera app like the Blackmagic one to get familiar with the the different controls (shutter speed, colour temp, iso etc) – these skills will transfer to any camera.

Get some lights, reflectors for bounce and black fabric for negative fill.

Find out the focal length of your camera lens (or lenses) so you know the field of view you are working with.

Shoot alot of different stuff, but especially faces. One great quote from this forum was something like “if you know how to light a face, you can light anything”

The more you shoot and watch your footage, the more you will learn.

Work hard and have fun!!

 

[M Ryan]

Just finished watching the new Beverly Hills Cop filmed on the Alexa 35. It really looked good, and one scene on a rooftop nightclub you could really see the extra latitude put to great effect.

[M Ryan]

Typically this would be the look of a bunch of carbon arc lights blasting on to the face

[M Ryan]

Comping is another possibility..

 

 

[M Ryan]

Looks like a smaller soft source close to the talent is used alot – also occured to me that greenscreen/matting could be a quick way to get this look (if appropriate)

eg: 

[M Ryan]

Nice question and answer 🙂 However have to say there was plenty of CGI by 1999!

[M Ryan]

Probably from The Marvelous Mrs. Maisel

[M Ryan]

Found this

and this

https://screenrant.com/sicario-movie-mexico-city-filming-location-roger-deakins/

🙂

[M Ryan]

Interesting question Ganesh, makes total sense to me 🙂 I seem to remember reading about a scene that was shot but cut in the edit where Alejandro was introduced, originally this was outside the aeroplane (?) – possibly to really sneak the character into the story slowly as we begin to realise alot of this story will be about him.. which could be why the original opening in the script was cut.

In alot of way’s the film really is Alejandro’s story told through Kate’s eyes, but it is also Kate’s journey as well, and she definitely becomes less passive as the story progresses..

Would love to hear some more insights about how Sir Roger worked with Denis to film these two characters.. the relatable Kate and the mysterious Alejandro!

Also yes, please keep it respectful (Vanniyan) – we are all here to learn, share and support each other – there are no stupid questions.

Regards, Michael

 

 

[M Ryan]

This one was a helpful guide for me in using false colour to help with consistent ratio

Cinematography School: Lighting Ratios 101

[M Ryan]

If you can get a hold of a probe lens that could give a nice going into a rabbit hole shot..  for the inside maybe build a little rabbit hole set (? 😊) – shot on the widest lens possible and comp it together..

[M Ryan]

Nice question Sangha, and thanks for the interesting answers Gianni and David.

….. and what a lovely pair of frames there! Surely the team that made those beautiful images are doing most everything deliberately 🙂

[Author]

Replies