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Hello James!
Wow! That’s so great!
I have been traveling. Last night, I wanted to relax and listen to the Deakins podcast. Oh my! I was caught by a complete surprise! We have got you, David and Roger, discussing TRUE GRIT! I am not fully done yet, I will post some feedback over this weekend, but easily one of the best episodes I have heard. Very focussed clearly articulated questions from the macro – to the – micro! Exactly what we all wanted!
Thank you James, Roger and David!
KumarPS: We will definitely write to Chivo. I will also request the forum members to do the same! 🙂 Chivo may just think it is easier to simply be on the podcast, than go through emails asking him to join us on the Team Deakins podcast!
I’d be willing to do it when all three of us are free to talk.
That is fantastic David! Thank you!
Team Deakins, this would be great to pull off!And … while we are at it, can the forum members also be greedy, and ask that we do this for two enjoyable hours, than say 1? 🙂 🙂 🙂 ( Sorry, couldn’t hide the excitement! )
Thank you David, once again!
@dmullenasc / @Roger Deakins, Happy thanksgiving! I just finished listening to this episode the second time! It keeps on giving! Thank you! Very enthused, I am looking for books/resources that could help me better understand: (a) camera placement & movements, and (b) lighting, both from the perspective of achieving desired mood & emotion. Would love your insights! Thank you!
I really really enjoyed this episode! Can we have more @dmullenasc episodes please? 🙂
Around 2.14mins, David mentions that critical ingredients in cinematography is made by film making, camera placement and movements, and lighting. Further in to the episode, @Roger Deakins reiterates these points, and mentions the importance of mood/emotion, enhancing/letting go of elements in the frame. It would be fantastic if we could discuss these points in more detail, with a few examples ? In fact, it would also be awesome to do a Turn the tables episode, where David discusses team Deakins’ work from the perspective of these elements? I wish you could all get together once again! Thank you very much for this great episode!
All, I just read a British Cinematographer’s post on the movie Maestro by Matthew Libatique, Bradley Cooper directing, where the 1.33 aspect ratio was used. Here is a relevant excerpt. Thoughts/comments?
”
The filmmakers landed on “something simpler” by beginning with black-and-white and a 1.33 aspect ratio before transitioning to colour and remaining in the same aspect ratio for the most part. At the end, for scenes taking place in 1989, and when Felicia becomes sick, the film moves into what Cooper refers to as a “more relatable” 1.85.
This framing is appropriate, says Libatique, because the 1.33 frame “allows Leonard and Felicia to share the frame and exist in an embrace of their new world together.” Their relationship is set up in this way from when they first meet at a party. “In the next scene, they’re in a tight two shot profile, with the party behind them. It’s a 1.33 frame where half their heads are actually out of the frame,” he adds. “That tight frame exists again when she takes him to the theatre and they kiss. Later, when they fight, again, they’re both in the frame, but it’s much wider. And then towards the end Leonard is by himself in a 1.85 frame with all this negative space on either side.”
” – British Cinematographer, April 2024.
I agree as well on your Batman and Oppenheimer points @IgorVe. Very interesting thread!
They do talk about “handheld” and here is a relevant paragraph, and of course, the usual example of Bourne series.
“Though it’s generally advised that too much handheld can
induce nausea in some viewers, there are examples of hand-
held-heavy productions that have been quite successful. Paul
Greengrass’ The Bourne Ultimatum (AC Sept. ‘07) was shot by
Oliver Wood with a great deal of handheld — sometimes aggres-
sively so — and this gives the action thriller a documentary-like
immediacy. Indeed, the Bourne films are known for this look.” : – AC, April 2024.Thank you @ThisGuy321.
All, this month’s issue of American Cinematographer seems to be talking about camera movements. I am searching if there is anything on Shaky cams. So far no luck. 🙂
Cheers!
Thank you very much @Roger Deakins !
Thanks @LucaM . That helps!
@LucaM, I have noticed the clean Fargo push in as well; this was also discussed in a Deakins podcast. These were quite enjoyable indeed.
@Stip, I had completely failed to notice that move in Good Will Hunting! Thank you!I am hoping that @dmullenasc can chime in here as well! 🙂
Thank you for the insight @Stip. I will check out the Safdie brothers movies.
Cheers!
