Roger Deakins

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  • in reply to: A Serious Man – Kitchen – Day #169708
    Roger Deakins
    Keymaster

      I suspect that the bounce was warming the HMI a little, so I doubt I used any CTO gel. Had there been a warm practical in the kitchen I might have warmed the lamp and shot without an 85 or EF filter on the camera.

      in reply to: Day for night #169706
      Roger Deakins
      Keymaster

        I have only done some limited day for night shooting and that was in a forest in Kenya. I did use some artificial lighting to pull the character away from the background but I wouldn’t say it necessary I think that depends on whether it is sunny or cloudy or if the foliage is particularly dense.

        in reply to: Prisoners Car Scene #169704
        Roger Deakins
        Keymaster

          There was a bounce source in front of the car to add a little more contrast to the natural light. Yes, the scene changes from rain to snow and this was achieved by our effects team, in camera, using cranes, rain bars and ‘snow’ blowers.  We wanted some flexibility in scheduling these shooting days because we needed, at the very least, cloud cover. The problem was the road closure, which allowed us only two specific weekends to work over. We got lucky in that it rained on our first day and remained cloudy through the next morning.

          in reply to: A Serious Man – Kitchen – Day #169616
          Roger Deakins
          Keymaster

            I remember the room was small and I didn’t use anything inside. There was a small window to the right so I probably had a 6K HMI and bounce source outside.

            in reply to: Do you use post stabilization? #169583
            Roger Deakins
            Keymaster

              Certainly do! A fast down hill track is tricky to make perfect.

              in reply to: Moon reflect in a window #169581
              Roger Deakins
              Keymaster

                You could just use white card. You could cut out a circle of any size, preferable cheating it larger than the moon’s reflection really would be.

                in reply to: Empire of Light @ Rio de Janeiro #169563
                Roger Deakins
                Keymaster

                  Rio! That would be nice but sadly no!

                  in reply to: Do you use post stabilization? #169562
                  Roger Deakins
                  Keymaster

                    Some post stabilization was used on the last film I shot but I don’t remember any being needed on ‘1917’. It is a good tool and can help a tracking shot that has a bump in it.

                    in reply to: most used focal length on Jesse james #169488
                    Roger Deakins
                    Keymaster

                      I probably used a 32 and 40mm for most of the film but there were plenty of shots made with wider lenses and with a purpose made set.

                      in reply to: Andrew Dominik ‘Blonde’ #169475
                      Roger Deakins
                      Keymaster

                        I have not seen the film as yet. Have you? What are your thoughts?

                        in reply to: Moon reflect in a window #169474
                        Roger Deakins
                        Keymaster

                          If you only need the reflection of the moon you might be better off using a white cut out and lighting that. You could then adjust the size of the cut out and even paint on some detail. A lamp directed at the window will surely look like what it is.

                          in reply to: Camera Choice in 1917 #169444
                          Roger Deakins
                          Keymaster

                            Ahh! I’ve corrected that. I should have said more observational. ‘Jarhead’ was definitely more subjective!
                            Had we gone hand-held I would have been the operator slipping around in the mud so perhaps that was another reason I didn’t favor hand-held! Seriously though, we wanted that solid unrelenting forward movement that the Trinity, the wire rigs and the crane gave us.

                            in reply to: Diffusing Lights #169435
                            Roger Deakins
                            Keymaster

                              Placing diffusion on the barn doors of a lamp will not really make the source ‘softer’ unless your subject is very close to it. The diffusion will spread the light in a more even wide beam but it won’t actually soften a shadow. A second layer directly on top of the first might spread the light even more but it will still not soften the light. To do that you need to make your source larger, as would be the case if your second layer of diffusion is set a few meters in front of the first. In general terms, the further your diffusion from the lamp the softer the light.

                              in reply to: Camera Choice in 1917 #169433
                              Roger Deakins
                              Keymaster

                                In early conversations we considered shooting entirely with a hand-held camera as we had done on the earlier film, ‘Jarhead’. But as we developed our storyboards we could see that there were many occasions the camera wanted to be more solid and more observational. To shoot some scenes hand-held may well have worked but what would those scenes be and why those in particular? We were shooting on a reasonably long lens so any hand-held work would have been very ‘active’, which we felt would break the spell of the single shot.
                                I shall be interested in watching the recent ‘All Quiet on the Western Front’ to see their approach.

                                in reply to: Camera Starter Question #169429
                                Roger Deakins
                                Keymaster

                                  I would like an optical viewfinder – but I know that is no longer a possibility!

                                Viewing 15 replies - 301 through 315 (of 316 total)