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There might be less distinction now that people have such large TV screens. Even then, I think it is still harder to play a scene in a static wide shot for TV. I see few scenes covered in a wide shot when I watch a series but, maybe, that is just because directors and cinematographers have a ‘go to’ setting for TV.
I like having an overall concept but rules are always there to be broken. If it feels right it may just well be right.
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.
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.
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.
