Roger Deakins

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  • in reply to: Prisoners basement lighting #215203
    Roger Deakins
    Keymaster

      I used just the flashlight in the basement itself and a warm bounce coming down from above. The camera saw the entire space so there was no way to use anything else, not that I needed it.

      in reply to: Optical viewfinder #215174
      Roger Deakins
      Keymaster

        The latest electronic finders are good but I would prefer an optical one. Of course, that is no longer an option and we get used to what we have.

        in reply to: BR2049 – Green tint outside #215173
        Roger Deakins
        Keymaster

          Is one green or is the other magenta. I am sure that neither is a true reflection of what is on the DCP. The exteriors were deliberately shot on overcast days to look dreary and they surely tend toward the blue/green but I am sure the YouTube version is a little off.

          in reply to: El Conde camera work #215149
          Roger Deakins
          Keymaster

            I still looking forward to seeing that one.

            in reply to: 1917 Flare Scene + Capturing Isolation #215148
            Roger Deakins
            Keymaster

              The flares were real and our effects supervisor had them specially made to last exactly 26 seconds, which was the length of time it took them to cross the frame. They were mounted on wires and computer controlled. We could have just shot them into the air but the results  would have been quite random given the wind and other variables, so we opted for control and a wire rig. The set was designed from a model and we used small LED bulbs as stand ins for the flares. From that we could see how the shadows would play out on the full size set.

              Isolation? Close shots with a shallow depth of field could work very well. You could take a look at ‘Come and See’ to get a sense of how that might work.

              in reply to: Skyfall Scotland drive scene #215147
              Roger Deakins
              Keymaster

                We were lucky with that low cloud. I must admit to trying to hurry things alone as I was concerned the light would change. I was not using any solids as we were working quickly and I liked the light as it was. I don’t remember the make up being any different for the exteriors so the effect you are seeing is just the light, which, I think, makes Daniel look very strong and works in the scene.

                in reply to: Large Format for Empire of Light and returning to Super35 #215146
                Roger Deakins
                Keymaster

                  We shot ‘Empire’ with the LF simply because we liked the results from the camera on ‘1917’. I don’t know what the future will hold! Every film and every director takes a cinematographer down a  new road.  That’s what makes it interesting.

                  in reply to: Contrast ratio #215145
                  Roger Deakins
                  Keymaster

                    I consider contrast when I am staring a project and when I light a scene but mine is not a mathematical approach. Some cinematographers my work from a ratio when they light but I just use my eye, judge the way I want a shot to look by looking at it.

                    Whether you maintain the contrast of the image through the whole film is up to the individual and the script. Its impossible to give one sweeping answer.

                    in reply to: Night Exterior Lighting #215115
                    Roger Deakins
                    Keymaster

                      Like for any scene you need to consider what you want it to look like and what would motivate the light. A park could have existing lamps on posts or you may want to add some. You may want the scene to play in ‘moonlight’, in which case you may be turning light off rather than adding them.

                      in reply to: LED on film #215111
                      Roger Deakins
                      Keymaster

                        I don’t know of an LED lamp that is as powerful as a large HMI but I may be out of date there!

                        in reply to: Pushing light through windows #215105
                        Roger Deakins
                        Keymaster

                          I would not say exposure plays so much of a role as you think. In every case you refer to there is detail in the windows. In no case was I wanting the highlights to be a pure white. The nature of the light is effected by the size of the set window, which is different in every case, and the quality of the light that is being ‘punched’ through the window. A series of lamps that are wider than the window project the light to each side, whereas a source the size of the window and at a distance from it creates a ‘tunnel’ of light that falls off to the sides of the window. And, the inverse square law plays its part as well. The light I was bouncing into Sapper Morton’s was far closer than the light I used to light the restaurant in ‘Unbroken’, which meant the light fell off far more quickly and the far walls of the set were that much darker. And lastly (maybe), a heavy diffusion on the window itself will become the source and spread the light whereas a very light diffusion will allow to be constrained.

                          How to light a day interior is actually quite complicated and we have not even discussed the limitations a location might bring into the equation.

                          in reply to: Bounce light challenges on Bladerunner (Sappers Farm) #215104
                          Roger Deakins
                          Keymaster

                            I was referring to the positioning of the light on the bounce. There were no lights inside the set at all so the positioning of the ‘hot spots’ gave me some shape to the light coming through the windows. I would adjust the focus of each lamp so that it was out of frame from shot to shot, and the white of the bounce seen through the window was lit only by the spill. This was so the window didn’t ‘burn out’ and I maintained detail in the highlights, texture of the dirt on the glass etc.

                            in reply to: LED on film #215103
                            Roger Deakins
                            Keymaster

                              There are more and more good LED options coming into use with a larger spectral range, something which was an issue in the early days. I would not be worried about using LEDs and they do have many advantages. However, it comes down to the film and the conditions in which you are working. I don’t see an alternative to using an HMI (or a Dino etc) to imitate ‘moonlight’ right now, though there may be one I am not aware of. In the lower range of lighting, where there would be a 650, a 1K, a 5K, or even a 10K, the LED alternatives are as good if not better. To dispense with gels is a great advantage!

                              in reply to: Outdoor scenes with heavy fog #215069
                              Roger Deakins
                              Keymaster

                                I’m glad that I did remember to ask Aleksey on our podcast, even if I had forgotten I had! It really was the best I have seen.

                                Yes, we used smoke on the ‘BR 2049’ shot on a studio backlot.

                                in reply to: Outdoor scenes with heavy fog #215060
                                Roger Deakins
                                Keymaster

                                  We talked with Aleksey Rodionov for our podcast and we should have asked him about that fog. I suspect it was a combination of real and added smoke but it certainly looks real.

                                Viewing 15 replies - 61 through 75 (of 308 total)