Roger Deakins

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  • 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.

                            in reply to: Advices for an exterior scene #215496
                            Roger Deakins
                            Keymaster

                              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.

                              in reply to: Lighting Approach for Daytime Interior in a High Rise #215477
                              Roger Deakins
                              Keymaster

                                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.

                                in reply to: The use of warm orange lighting and why? #215429
                                Roger Deakins
                                Keymaster

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

                                Viewing 15 replies - 46 through 60 (of 328 total)