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I briefly worked with an actor who had a thing about the size of his nose. He only wanted to be shot on a 50mm or longer.
Yes, the overhead could be from a helicopter or it could be God looking down on his creation. Who knows? There was a need to establish the geography of the action and this shot is just a repeat of one that followed the team across the border in the first place.
I loved Cormac’s writing style. His descriptions allude to so many more things that what he is immediately referring to. Robert Olmstead’s writing has similar qualities as does Richard Flanagan’s of course. Flanagan’s latest book, Question 7, is a marvel.
Curios? You answer yourself. I find inspiration from being emotionally engaged with an image rather than admiring it for its technical representation of what might be considered ‘real’.
If you were shooting on film you might use a tungsten balanced stock to achieve a dusky blue. What is the difference in altering the camera setting? Why is that cheating? Sounds like a good solution to me.
Edvard Munch, George Bellows, George Inness, Oscar Kokoschka, William Blake, Henry Fiseli, L. S. Lowry, Wassily Kandinsky, Otto Dix and more.
For the tunnel in 1917, the camera was set at 3200K and the LED in the flashlight was around 2800K. The lights were warmer in M’s apartment.
Definitely not a plate. There was no effects work in the scene apart from the deer.
The location is between Santa Fe and Albuquerque to the east side of the highway.
The hotel room was a stage set. Space had something to do with it but also availability of the location and a desire to shoot during the day rather than in a small room on location at night. So, the lobby and corridor was on location and the room a set.
The Motel rooms were also on stage and we just redressed the one set to create the two similarly styled rooms. The air duct drove that decision as well as practicality of shooting. Transitions from the ext. to the int. are always tricky and here there was direct action crossing the join.
I am not so interested in horror films, its true. I liked The Witch, which is more of a traditional horror film than The Birds or Jaws. Not that I would call these last two films horror films but some people do. I liked the original Nosferatu so it will be interesting to see the new version due out this December.
I have and would also recommend studying the work of still photographers. Alex Webb, Harry Gruyaert, Georgieo Pinkhassov stand out for their color work. Photography is a different medium and it is hard to use such complex compositions as Alex often does in a film frame. Films are made in cuts and complex compositions could lead to sensory overload. But their work is inspirational nonetheless.
Wow! That is a long question.
The headlights were the primary source. I remember the shot of the group walking towards the camera was lit by the headlights with little added. I asked for vehicles with particularly good headlights but even then I needed to add a little more. That was especially true for the wide looking towards the berm. I had two or three 650 watt Tweenies for this. Not much but just enough to widen the effect. They would have been dimmed to create that warmth on the sand.
The close shot of Josh does have a deeper background as he is at that point out of the trench. Kate was lit using a little bounce and, as the headlights alone were not enough, I added a lamp here. I was never happy that I was cheating the light as much as I was but performance is important.
That room was on an upper floor and access was very restricted. I would have liked to bounce an HMI off a large white reflector but it was just impossible to position two lifts in the necessary places. Besides, there was often a strong wind blowing in off the sea and sending up a large ‘sail’ would have been problematic. This forced me to opt for an array of LED panels with a light diffusion attached in front. The rig was always just above the frame line and we did shift it a little from side to side to reach into a face.
I must add that this was a really difficult space to work in and frustrating for everyone. It also faced south, which meant the daylight would shift dramatically if there were fast moving clouds. To control the direct sunlight we had to maneuver flags on ropes from the roof above, which was a real challenge. The LED panels were sometimes 60% of the overall light and at other times they added very little.
