[Roger Deakins]

I think all three are influenced by each and every film I have seen, every painting and every day I have gotten out of bed at dawn to go fishing!

[Roger Deakins]

There are usually a whole range of deliverables, HDR included. I have always worked with an experienced post facility that has set every monitor to its optimum setting so I could not advise how the OLED is translating your material.

[Roger Deakins]

I have not used ‘texturing’ on any film. I was intending to use a grain program the first time I shot with the Alexa but never did then or since.

[Roger Deakins]

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?

[Roger Deakins]

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.

[Roger Deakins]

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.

[Roger Deakins]

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.

[Roger Deakins]

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

[Roger Deakins]

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.

[Roger Deakins]

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

[Roger Deakins]

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.

 

[Roger Deakins]

And to everyone!

[Roger Deakins]

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

[Roger Deakins]

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.

[Roger Deakins]

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.

[Author]

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