Roger Deakins

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  • in reply to: Differences between the ARRI XT Studio and other cameras #170452
    Roger Deakins
    Keymaster

      I had asked Arri if it were possible to create a digital camera with an optical viewfinder as the electronic finders were then so tiring on the eye and really not that good.  The XT Studio was the result. There is no alternative to an electronic finder for any small digital camera so the optical option simply no longer exists.

      in reply to: Lighting a Coffee Shop at Night Interior #170164
      Roger Deakins
      Keymaster

        It looks like you should be able to hide your reflections pretty easily in a space like that. A simple black square with a hole in it for the lens can get you out of trouble. You might find the light being in shot is more of a problem. Perhaps bouncing a lamp off the ceiling would be more forgiving and you could use a silver reflector to ‘focus’ the bounce if necessary.

        in reply to: Aspect Ratios #170050
        Roger Deakins
        Keymaster

          The Coen Brothers wanted the ‘old film’ to introduce “A Serious Man’ so 1:33 gave that feeling. Otherwise, the film felt quite intimate and naturalistic. I suspect that is why we chose 1:85.

          Some directors just like to shoot 2:35 and that is just a given. Personal choice. Nothing profound.

          in reply to: Aspect Ratios #170043
          Roger Deakins
          Keymaster

            Why? I cant really explain that. The choice of aspect ratio comes after discussions with the director.

            Yes, 2:1 seems quite popular but it is probably only a coincidence that the ‘right’ projects came along.

            in reply to: Alexa 35 vs Mini LF #170041
            Roger Deakins
            Keymaster

              I am not sure why the 35 would be that much more advantageous than the LF. Lighting is lighting. But, sad to say, many of the number crunchers see no difference between having enough light and creating the right light.

              in reply to: 1917 Camera Setups #170040
              Roger Deakins
              Keymaster

                If you have another idea please can you let me know. Given the camera had to move across two tables and between characters we could think of no alternative to a Technocrane. Well, we could have rigged the camera on a wire, which was my first thought, but this might have been even more complicated.

                in reply to: Night Wide Lighting Advice #170039
                Roger Deakins
                Keymaster

                  I was using a series of bare 250 watt bulbs mounted on some circular aluminum strips that I had made up for this purpose. I would surely think that there is a simple LED alternative in this situation. For instance, I wrapped some ribbon strip around a circular tube to construct a small soft multi-directional source which would work quite well to augment a firelight source. The advantage of the quartz bulbs was that they could be dimmed down to a matching color temperature and, being more resistant to heat, they can be placed quite close in to a real fire.

                  in reply to: Place scene-Unbroken #170037
                  Roger Deakins
                  Keymaster

                    Yes, the Spacelights were gelled with a 1/2 blue and some of the Blondes carried a 1/4 blue. Given the diffusion warmed the light the resulting color was just a little cool, which made sense to me as the camera was set at 3,200K. The lower 2K lamps were a mixture of 1/4 blue and clean. I’m not sure why you are confused about the shot you post as this would have been lit by the pattern of Blondes projected through the diffusion.

                    in reply to: Empire of Light @ Rio de Janeiro #169822
                    Roger Deakins
                    Keymaster

                      I would love to visit Rio again. My first experience of the city was during the 1977/78 Whitbread Round the World yacht race. We made it to Rio on the first day of carnival having sailed from New Zealand via Cape Horn.

                      in reply to: First Full Length Feature #169815
                      Roger Deakins
                      Keymaster

                        That is good advice. The job is stressful and it must be stressful. I find the job only becomes ever more so as you try for a perfection that is unattainable.

                        Allow others to feel involved in your process even if, in the end, you make all the decisions. Create a quiet and welcoming place for the actors. Without them you have nothing.

                        in reply to: ‘In Time’ – Lighting Questions #169810
                        Roger Deakins
                        Keymaster

                          Sorry, I thought I had posted an answer already. Glitches I guess!

                          The main source lighting the center of the road would have been a 10K Fresnel, probably with a 5K to each side of it, rigged on an articulated crane arm. I like to use a multiple of lights as this gives a slight softness to the shadow. The lamps would have had 013 straw as well as 1/2 CTO on them. The two 5K lamps would have either been dimmed down or the intensity taken down with scrims (wires). The backgrounds were probably lit using 5K, 2K Fresnel lamps or/and 2K Blondes and these would have been on high stands.

                          in reply to: Prisoners Car Scene #169808
                          Roger Deakins
                          Keymaster

                            I would generally use an HMI outside during the day. I don’t remember blacking out the back window but I may have cut some of the light from that direction with a sold set away from the window. I  also remember that the sun came out while we were shooting some tight shots so I had the car surrounded with solids.

                            in reply to: Light Rays Advice #169807
                            Roger Deakins
                            Keymaster

                              I can’t imagine a 2K being effective. It also seems you might need to control the natural light so that it does not overwhelm any source you use. I would expect to use an Arri Max for this kind of effect or, at least a powerful HMI Par.

                              in reply to: Fire light in stop motion #169712
                              Roger Deakins
                              Keymaster

                                If the fire on the characters is animate does it need more than a little interactive firelight hitting the areas on which they are sitting? I would suggest the main issue will be the flicker of the firelight and syncing that between what light is in camera and the 2D animation.

                                in reply to: Lighting Distance Formulas #169709
                                Roger Deakins
                                Keymaster

                                  I think there is some confusion between fall-off and the size of a light source. They are not connected. The fall-off of light from a source follows the inverse square law. How soft that light is on the subject is governed by the size of the source relative to that subject. That is simple geometry.

                                Viewing 15 replies - 286 through 300 (of 316 total)