Roger Deakins

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  • in reply to: Directing effect of 1:33 (4:3) ratio #215643
    Roger Deakins
    Keymaster

      Good question!

      Roger Deakins
      Keymaster

        Other than the fall-off of the light, a big source far away is similar to a small source close in. Only one of those references has a bounce source wrapping extra light on the face. And  am not saying which one that was.

        The blocking of a scene and the choice of the time of day are key. Why is one character backlit and the other in full sun? That is a conscious choice.

        in reply to: Exposure #215641
        Roger Deakins
        Keymaster

          Shoot it the way you want it to appear on screen.

          Roger Deakins
          Keymaster

            I really agree with those last comments. I don’t consciously think about depth and composition when I am shooting. I too work in an instinctive way and shoot what ‘feels right’. Its the same with technology. If your mind is on the how and the why you are loosing part of your emotional connection to what is in front of you.

            in reply to: Intentional visual design when composing shots #215607
            Roger Deakins
            Keymaster

              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.

              in reply to: Considerations shooting from a chopper #215603
              Roger Deakins
              Keymaster

                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.

                in reply to: Creating dark shadows on subject #215596
                Roger Deakins
                Keymaster

                  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.

                  in reply to: Creating dark shadows on subject #215588
                  Roger Deakins
                  Keymaster

                    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.

                    in reply to: Films that light and compose faces very well #215587
                    Roger Deakins
                    Keymaster

                      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.

                      in reply to: The influence of Neo-Western and Noir on the 3 movies #215586
                      Roger Deakins
                      Keymaster

                        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!

                        in reply to: The influence of Neo-Western and Noir on the 3 movies #215585
                        Roger Deakins
                        Keymaster

                          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!

                          in reply to: Amazon prime deliverables #215584
                          Roger Deakins
                          Keymaster

                            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.

                            in reply to: Arri Alexa 35 In-Camera Texturing Thesis Survey #215583
                            Roger Deakins
                            Keymaster

                              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.

                              in reply to: Regraded No Country For Old Men #215535
                              Roger Deakins
                              Keymaster

                                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?

                                in reply to: About low key lighting #215534
                                Roger Deakins
                                Keymaster

                                  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.

                                Viewing 15 replies - 31 through 45 (of 316 total)