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It varies from film to film. On ‘Empire of Light’ Sam and I only worked out our camera shots with the actors on the day of the shoot, whereas on ‘1917’ we decided on the ‘shot’ months before shooting started. On ‘Blade Runner 2049’ Denis and I shot listed and boarded much of the film months in advance but on ‘Sicario’ we focused only on specific scenes. I usually work with a director on shot listing during prep but that is not always the case. Joel and Ethan would often do a pass of their storyboards before I became involved and then we would do a final pass together.
I really can’t remember if the shot was sped up though I doubt it. The shot was made when 1st unit was changing location from London to Yorkshire. The weather was incredibly bad for mid summer so, with only a brief window of time, we were lucky to get that shot.
I think it is interesting to study the care that was taken in the past to light an actor when in a close shot. We were recently talking with Billy Williams and had, in anticipation, revisited some of his work: ‘Women in Love’, ‘The Wind and the Lion’ and ‘Gandhi’. Often his close up lighting would vary quite considerably from the wider coverage but this is only apparent if you specifically analyze the lighting. Not so when simply following the story, which certainly benefited from his care. The actors too must have loved what Billy did for them as his close up shots were always beautiful.
Today there is a tendency to light a set and shoot in the same lighting for a close shot as for a wide. Sometimes a shoot will cover the wide and tight with multiple cameras so there is no chance to make a change if desired. Personally, I will often adjust my lighting as the camera (single camera) moves in to an actor for a close shot, regardless of that actor’s gender.
Yes, it all depends on what you define as ‘style’. I would not like to be known as a cinematographer who’s style is lighting soft and shooting with a 50mm lens. Whereas, I could light with a single hard source and shoot with an 18mm lens and the image would, I hope, still reflect my taste.
I don’t think I have a particular style at all. As David says, everyone has a personal taste and that informs the work. And, like every cinematographer I know, I have certain tools and techniques I have developed over the years. But technique is only a way to create what is in the mind’s eye and is not , or should not be, the impetus for it.
While it is true some directors have a defined style I would argue that may are chameleons who morph into each film they take on.
I am not a fan of anamorphic. I have shot tests in the past but not with the Master anamorphic lenses.
I usually use 150 or 250 watt bulbs to rig an oil lamp in this way but for ‘1917’ I used 500 watt bulbs of the same kind as are used in conventional Tungsten Fresnel lamps. These were all I could find in the UK, although I have a great range of quartz bulbs in my garage in the US.
Once or twice I have used a small strip of blackwrap between the twin bulbs, to hide the one that was away from camera and brighter, but I don’t remember it being necessary to do this on ‘1917’.
I can’t say I ever change the settings on the Alexa Mini or the LF. Personally, I don’t see why you would. Would it not be better to adjust the image in the DI if you feel the need. You could then adjust sharpness and also add grain.
