[Max A.]

[Max A.]

[Max A.]

Thank you very much for your reply Mr Deakins! It’s always fantastic to read from you.
It’s also very interesting to know and discover your thoughts behind a lighting choice. Although your thought was that the area could appear more like a “work space”, I think this kind of “contrast” with the lobby makes that area appear more “intimate” and something like “behind the scenes” of the main act.

In terms of lighting fixtures, do you project light above the “white glasses” of the diffusers above the ceiling or those are real fixtures (maybe led asteras etc.), the light seems to me controlled and just a bit “directional” but maintaining the soft texture. Maybe a real ceiling fixture could spill light more around the room and less toward the floor hitting the walls (and maybe if the ceiling is low the light fall-off would be stronger)?

Outside the windows, which kind of light did you use to bounce the white wall? Did you however still want to “emulate” the daylight?

I apologize for all these further questions, just my curiosity that pushes me to learn from you.

As always I want to thank you for your availability and for your kindness.
Your words are a big resource for all of us.

Have a peaceful day,
Max.

[Max A.]

[Max A.]

[Max A.]

[Max A.]

Thank you so much for your reply Mr. Deakins! It is always a fantastic gift to receive an answer from you!

Thank you, as well, for your advice to work very closely with the production design and set dressing, of course when the scale of the production allows me to do that.
In a “recent” project (a small budget feature that I shot last year) there were some issues with the set dressing (of course no set or studios were involved due to the limitation of the budget but only real locations) and I went to stores to buy some kind of fixtures that I had in mind for some spaces, it was not so easy cause it was my “second” experience for a feature, but it helped me to find the “right” kind of practicals for each space (unfortunately I couldn’t cover all the scenes).

Thank you again Mr. Deakins, In the next posts I will try to upload stills to make the post more complete and visually “direct”.

I wish you a peaceful Sunday,
Max.

[Max A.]

Hello Mike, just tried to clear the “cache” but nothing. Maybe I’m doing something wrong, I’m just hitting the image button and uploading pics but when I hit the “reply” button my reply doesn’t appear.

maybe it needs to be verified by a moderator? When you post pics with the new version of the forum was the reply “immediate” or did you have to wait?

Thank you,
Max.

[Max A.]

It seems I can’t able to upload stills, I will retry tonight

[Max A.]

Hello Stip, thank you for your reply. I think you are right, and sometimes it is “needed” to consider every factor (like those you wrote) and try to find a way to bring ourselves to the project with our creative ideas during the dialogue with the director.

Have a nice day.
Max.

[Max A.]

Very pleasant and interesting! No questions about lighting but a lot of good questions in my opinion, and very informative answers.
It felt to me to have a good chat while watching the whole video.

Thank you so much for sharing Mrs James!

I wish you a peaceful Sunday,
Max.

[Max A.]

Thank you very much for your reply Mr. Deakins! I know you are really busy around the world and really appreciate your answer (priceless).

“In a case like this I will ask for a rig to be put up knowing it might only be necessary for…”

The big lesson for me here is this concept, too often, also if I do often just small productions I do things during the day by watching on the frame, and often the result is a lot of stands and cables around.
When I saw the photo of the rig I thought about your possible idea to have a “clean” set and lamps “ready to use”.

Thank you again for your reply Mr. Deakins, and thank you as usual for your kindness. Reading from you is always fantastic.

I wish you a peaceful day.
Max.

[Max A.]

I found the pic that I’m referred.

Photo via Historic Blanco

Of course, If I violated some copyright I can delete the image, mine was only a question asked to learn from Mr. Deakins.

I wish you a peaceful day.
Max.

[Max A.]

If I can join in this topic, I think Ganesh asked a good question and did a good subjective analysis.

In my opinion, first of all, art is subjective. It is subjective when someone feels and creates a piece of art and often is subjective when a human being is connecting to it and has his sensations, his reactions, and his own interior questions.

I think, to answer to Ganesh, that Mr. Villeneuve took his risk to change the way to introduce a crucial character like Alejandro, and by doing this he changed the whole Image System of the movie and the way we as an audience perceived and followed the story.

When we all do something we taking our risks, this is a process that can improve our path (passing also by brutal failures).

I agree with Michael (Mr. Ryan) and to be honest I never analyzed the fact Kate is something like an “observer” of the story, we as the audience are Kate. This is a strong storytelling point of Sicario in my opinion and is maybe the the factor that makes the movie not “just an action movie”.

Of course, this is my opinion, as an audience. I’m not won any awards nor feel like a movie theorist.

In the end, I agree with the concept to be always respectful of each other.
I know you Vanniyan are so passionate about movies and cinematography and are a huge fan of Mr. Deakins (like us) but this doesn’t let you blame and call someone “child”.

Often a child can teach us to see something that we never saw.

I apologize for my bad English.

Have a peaceful Sunday all forum members.
Max.

[Max A.]

Happy birthday Mr. Deakins! I wish it will be a fantastic day.
Thank you always for what you do. ❤

[Author]

Replies