Roger Deakins

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  • in reply to: Printer Lights and Digital #187477
    Roger Deakins
    Keymaster

      In the digital world it is hard to understand just how ‘well’ the image has been exposed. I do believe that a well exposed image makes a difference and printer lights were a simple way to reflect the true exposure of that image. I like to translate the lab. 7 point scale of exposure to DI timing.

      in reply to: exposure and details #187473
      Roger Deakins
      Keymaster

        I think too much detail in the sky would have been distracting as well as inappropriate for the look of ‘1917’. Besides, I do not do much timing on a shot and I don’t specifically target a sky to add detail or enhance a cloud formation as I feel that will almost always look like what it is. As with many still photographs, there is all too much ‘enhancement’ of an image which might start off looking real only to become artificial. The skies in ‘Sicario’ are often quite dramatic and that is because they were quite dramatic. Nothing is ‘painted’ or created in post.

        in reply to: Arri Trinity advantages and disadvantages #187431
        Roger Deakins
        Keymaster

          The Trinity is useful if you want to jib up and down. Otherwise it works in the same way as a Steadicam.

          in reply to: Light schemes & staging/shot-list #187429
          Roger Deakins
          Keymaster

            Firstly, I like prep but that is not to say anything that is imagined during prep has to be what is shot. That is certainly not the case. In my opinion, little can be decided before the director has rehearsed with the actors. Therefore, any lighting I plan out, or indeed rig, prior to seeing a blocking rehearsal will not compromise the possibilities available to the actors and director. Naturally, during location scouting the director and I might decide what will be the preferred angle to shoot in and also what might constitute the widest view, but there is always a possibility of change on the day of the shoot.

            I too tend to prefer European cinema, and especially Eastern European cinema, but I am not aware that these films, or ‘The Rider’ for that matter, are made with different equipment. We recently talked with Andrey Zvyagintsev and his cameraman, Michael Krichman, for our podcast and delved into how they shot “Loveless’, ‘Leviathan’ and ‘Elena’. None of the equipment they used was any different to that available to any ‘Hollywood’ production. To say that the ‘big studio ways’ of shooting a film are dead is to miss the point. Was the film ‘In Cold Blood’ dead? Was ‘The Wild Bunch’ or ‘Once Upon a Time in the West’ or ‘Dr. Strangelove’ dead? While you can easily dismiss the big budget films that are presently being made as, to put it mildly, unexciting, it would be wrong to erase film history altogether. It is not the technology that will change the films that are being made but the mind set of the film makers. Consider Godard. He didn’t work with one of today’s lightweight digital cameras and his greatest films, ‘Alphaville’, ‘Band of Outsiders’, Pierrot le Fou’ , “Breathless’ etc. etc., were made well before Steadicam and stabilized heads. And what about the work of Peter Watkins? What about his ‘War Game’ or ‘Culloden’. For an extreme contrast, consider also John Huston’s ‘Red Badge of Courage’, a film that is made up of extended tracking shots. Look behind the scenes of this production and see the size of the camera and the technological challenges of making those kinds of shots. Limitations can be overcome if the film maker has a vision and a passion.

            in reply to: Asking for Living Abroad Advice #183184
            Roger Deakins
            Keymaster

              Glasgow is a wonderful city and there are so many interesting places nearby. For me, experiencing new places and meeting new people is invigorating and part of the life of a film maker.

              in reply to: Focal length on Blade Runner 2049 shot? #183173
              Roger Deakins
              Keymaster

                That was probably a 50mm Master Prime. Maybe a 40mm.

                in reply to: ‘Without Limits’ focal length #183164
                Roger Deakins
                Keymaster

                  I have used long lenses and also a zoom on a few occasions. I am not a fan of keeping a zoom on the camera as a standard lens but I wouldn’t say I am not a fan of long lenses. i don’t see how that follows. It makes sense why Conrad used long lenses for ‘Without Limits’. If a project came along that felt like a ‘long lens’ film and that was the effect the director was after, then I don’t see why I would say no.

                  in reply to: Diffusion and Bounce Placement in Day Ext. #183152
                  Roger Deakins
                  Keymaster

                    I rarely soften the sun with diffusion. The problem with doing that, unless you have a large crane and lots of time and money, is the source then becomes close to the subject and ‘wraps’ around too much. I will very occasionally use a net to take down the strength of the sun for a close shot.
                    As for bounce sources, I would rarely put something in direct opposition to the backlight. Here I might use a small bounce card, maybe a silver reflector, to light from below a subject. But I also might use an array of large unbleached muslin. So many variations and so many different situations. There is no one way to do anything when it comes to lighting.

                    in reply to: Photography #181221
                    Roger Deakins
                    Keymaster

                      I have used a Lumix. Why not? I don’t believe the ‘brilliance’ of your camera is as important as what you point it at. I like my Leica because it is a very simple camera with manual sttings and a prime lens. The lenses are great and the camera’s resolution is wonderful but that’s not the most important thing.

                      in reply to: Empire of light Hilary and Donald Ellis conversation #181220
                      Roger Deakins
                      Keymaster

                        The practicals have regular tungsten bulbs. There is additional lighting here. I was creating cove bounce sources to the edge of frame for both camera angles. I was using LED Fillex lamps with the Fresnel lens attached for my light source. Usually i would have used more traditional tungsten lamps in this situation but, for cost reasons, I was carrying few lamps in my floor package.

                        in reply to: About film“Empire of light” #181216
                        Roger Deakins
                        Keymaster

                          OK I will see what I can find.

                          in reply to: Photography #179166
                          Roger Deakins
                          Keymaster

                            I do use my camera to take reference images on set but that is all. Far too busy to think of anything else!

                            in reply to: Photography #179052
                            Roger Deakins
                            Keymaster

                              I mostly shoot with a Leica M9 these days with a 35mm lens attached, but I also have a Leica Q.

                              in reply to: Best movies to study lighting and cinematography #179050
                              Roger Deakins
                              Keymaster

                                It isn’t that the director is not concentrating on the story, well it wasn’t in the case in point, just that in discussions we had agreed on a set of ‘rules’ and we each kept each other on track. That kind of back and forth exchange of ideas is when I am most happy on a film.

                                Yes, I was looking to direct a couple of projects but some years ago now. The problem is I love being on a set and working with a great team, so when offers came up that I couldn’t turn down I didn’t.

                                in reply to: Empire of light Hilary and Donald Ellis conversation #178899
                                Roger Deakins
                                Keymaster

                                  They had just been very close! Now, Ellis is feeling confident and satisfied while Hillary is a little confused, probably a little angry and also sad.

                                Viewing 15 replies - 211 through 225 (of 323 total)