Roger Deakins

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  • in reply to: Regraded No Country For Old Men #215535
    Roger Deakins
    Keymaster

      Why the —- does anyone think they can regrade the film and make it look ‘better’? Sometimes a digital copy does not translate as well as it should but does that make it right to re time it? Add a yellow red teal? What is that?

      in reply to: About low key lighting #215534
      Roger Deakins
      Keymaster

        I’m totally with you here. I try to shoot the image the way I want it to be in the final film. Make the decision when you shoot not in post.

        in reply to: Advices for an exterior scene #215496
        Roger Deakins
        Keymaster

          I think Max answers well. I would hope to shoot on a cloudy day as dappled sunlight could kill the look you seem to be after. That is unless you would be OK with a moonlight effect. I have shot ‘day for night’ in a jungle under a full sun, which looked quite good if I managed to keep the sky out of frame.

          in reply to: Lighting Approach for Daytime Interior in a High Rise #215477
          Roger Deakins
          Keymaster

            Your location photo looks good. Nice large windows. When you are shooting somewhere like that its a matter of scheduling your shots so that you don’t suddenly get a shaft of sunlight in the middle of an. otherwise soft scene. The overheads could help, if you want to soften the look but I might just leave them off and use small daylight balanced lamps if really necessary.

            in reply to: The use of warm orange lighting and why? #215429
            Roger Deakins
            Keymaster

              We made no reference to the first Blade Runner as far as the look is concerned.

              in reply to: The use of warm orange lighting and why? #215427
              Roger Deakins
              Keymaster

                The color is always justified in some way. I certainly don’t use color to ‘look good’. In BR2049 I wanted the interior of the Wallace Corporation to look as if it were sun lit. That was the reasoning there. Our Las Vegas was red as Denis thought it would contrast the cold look of LA., besides Sidney had just been enveloped in a red dust storm so it seemed it was part of our new reality.

                in reply to: Desert Chase at Dawn scene in No Country for Old Men #215422
                Roger Deakins
                Keymaster

                  The dawn chase was filmed at dawn and dusk depending on the individual set up.

                  in reply to: split tone look- how much to get in camera? #215418
                  Roger Deakins
                  Keymaster

                    I have no idea why you would not want to create the look you are after in camera. I’m sure your DIT friend means well but you are creating the images not them. The image you post were no doubt shot to be the way they are.

                     

                    in reply to: Merry Christmas #215400
                    Roger Deakins
                    Keymaster

                      And to everyone!

                      in reply to: Set lighting diffusion vs size of the source #215391
                      Roger Deakins
                      Keymaster

                        Hard to see the effect of that kind of rig when you don’t see the shot.

                        in reply to: Prisoners: What’s with the tree? #215364
                        Roger Deakins
                        Keymaster

                          That shot again! Denis simply wanted that shot, something mysterious and that implied more than what you see. We looked at leaving the focus deep and at different compositions but the shot just felt right as you see it in the film. Is it what it means or what it makes you feel.

                          in reply to: Multi camera coverage disadvantages #215362
                          Roger Deakins
                          Keymaster

                            i have used double cameras on simple conversations when it is unscripted and I’ve used more than that on numerous scenes when it would be expensive to do a second take. So, I am not against multi camera just don’t think it helps for every scene.

                            in reply to: Zoom in vs dolly pushing #215361
                            Roger Deakins
                            Keymaster

                              Probably not since ‘The Village’. I thought the zooms in that film worked well. An interesting effect.

                              in reply to: Around the World with Ridgway #215357
                              Roger Deakins
                              Keymaster

                                Plenty of repetition and many technical challenges. Remember I was shooting with an Eclair NPR 16mm camera. The biggest challenge for me was just being motivated to shoot after being on watch and wanting to collapse in my bunk.

                                in reply to: Zoom in vs dolly pushing #215355
                                Roger Deakins
                                Keymaster

                                  Interesting. But we do not cut images together as in a film, nor do we desaturate an image see in different lens lengths are able to float around in the sky and many other things that have become part of film language.

                                  • This reply was modified 2 months, 3 weeks ago by Roger Deakins.
                                Viewing 15 replies - 1 through 15 (of 273 total)