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I was hoping someone else would attempt to comment on this post!
Yes, a director and cinematographer will usually discuss a general approach to the visualization of a film, and we often do storyboards to illustrate what we intend, but I don’t believe moment to moment decisions are made in such a calculated way. Images are about feelings, as experienced by a cinematographer when composing a shot and, hopefully, in the same way by the audience on viewing it.
I have always shot from helicopters using bungie cords rather than mounting a head. You might check your craft but there is usually too much vibration.
Yes, there was a bounce top right. I suspect that had a lamp on it but this was a long time ago! The light hitting April was from the window left of frame and I would have had bounces outside. The window may have carried a light diffusion as well.
That’s really a matter of focussing your light where you want it! That can be helped by using solids off frame and draping the walls behind camera with black cloth but you light what you want to see.
The shot could have been made just using natural light through the kitchen window and blocking that which was coming from a screen door to the left of frame. But, although this was shot on location it was dark outside at the time.
There is a podcast of a conversation James and I had with Aleksey Rodionov about Come and See. It is definitely worth listening to. Nice man.
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!
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!
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.
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.
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?
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.
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.
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.
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.
