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Happy Birthday Master Roger. Wishing you great health,strength and happiness. Wishing we get to see many more of your work, get affected by the stories you tell, the way you tell them and inspired by your sensibilites.
Thank you Master David and Master Roger, I get what you are saying,It must be hard to have artistic control exactly as intended at home viewing due to the non uniformity of all kinds of displays and formats. But Master Roger Could you pls tell which one you prefer.
I wanted to understand the effect you had in mind atleast when shooting these scenes to learn more about the story telling through exposure.
To know the intend as to whether you wanted the light shining on both the kidnappers face when they are inside the car to be really brighter as in 4k to affect the audience with heat or did you actually intended to expose for that highlight and not go for very strong feel there as it would happen in the 4k version. Same for the interior day shots of the wife character. Did you intended for a strong bouncing daylight outside or a dull much more dim diffuse light happening outside, based on the exposure in these images.
Thank you.
Hi Master Deakins.
It’s great how you can execute that level of focus to be in both worlds at the same time.
Want to try this line of thought in my work and see how it better fits.
Thank you.
ah yes, got it James, I had shot a couple of works with blacked out for 2.35 and it had worked for me, would be interesting to see not doing that and trying out this approach to see how it is affecting my framing,
Thanks.
hi master david,
understood the reason to protect for multiple platforms, but isn’t it actually a compromise to frame this way? or does anyone prefer shooting like this, like you pointed out in the style of a rangefinder camera.
Thanks
Also how did you operate the composition in 1917 which was shot for wide aspect ratio with a 16:9 sensor, did you black out the top and bottom frame or similar to the above image only, asking espicially since 1917 was a more dynamic camera movement film than say no country.
Thanks much for the detailed explanation of the sequence master Deakins.
Shooting things for real and extending and augmentation of the shots as pre planned is a great learning from the work.
If I may ask how often do you visit and sit with the post house to make sure the lighting on the VFX element is as you wanted or is it done mostly through versions and written feedbacks.
Thank you very much for taking the time to reply Master Roger.
when you had a virtual copy scenerio, how was the process, was it very much like live action where the Actors/animators might have the scene acting/blocking done good and working for all 360 degree angle and you would shoot it as per your insitnct.
or was it like the animators did animation for the story board angles and you improved it on top while the capture stage.
In Rango how was the beautiful Roger deakins feeling compositions and lighting achieved precisley, was the focal length’s and light directions mentioned in storyboard reel.
One of the most powerful and greatest film in film history done without any piece of music. People who do not understand or respect film history must be the ones thinking of things like this.
September 3, 2023 at 6:30 am in reply to: “Bladerunner 2049” Vfx/CG/real/miniature/specialeffects #214900(A little correction these lines, I can’t seem to edit it) can you pls share your process in some length on lighting and shooting full CG scenes and compositing scenes that goes for CG background in your films, Rango is one of your finest work and I can’t see it any different than your Live action work.
First time I watched ‘Rango, it sure did felt like the man who shot ‘No country for old men’ and ‘true grit’ had shot this film. It was amazing to discover the signature personality on composition, movement and lighting.
September 3, 2023 at 5:50 am in reply to: “Bladerunner 2049” Vfx/CG/real/miniature/specialeffects #214899Great Master Roger,
- I’m currently working as a virtual lighting and camera artist in a pre/post production facility, So the seamless movement from Live action to CG amazed me in bladerunner like no other, can you pls share your process in some length on lighting and shooting full CG scenes and compositing scenes that goes for CG background in your films, Rango is one of your finest work and I can’t see it any different than your CG work.
- But here when I work on shots on films, most cinematographers don’t come much to the house to have control over their CG images and I find it a little depressing as I’ve learned from your Forum and everywhere you had given talks and interviews and Much similar like DP master Greig Fraser on maintaining and protecting the Dop’s work through any method of creating it for the film. wanting to do DP work on my own films is my ultimate aim also, I always hope for Dp’s to come in and do the CG lighting with the technical support of CG artists so it pretty much stays one vision. I try my best to match their live action work with references of live footage.
- Master Roger can you share your way of working lighting and framing and everything as you do as a live action cinematographer, how that translates to any other form of imagery.
- Always learning from you Master Roger.
- Thank you for your time.
April 24, 2023 at 11:46 pm in reply to: “Psycho” singles Eye line & Curse of color in modern cinema. #209314Can you mention some of the films that have great color cinematography according to you. Any film with great color work that gave you the level of feeling when you watched a black and white film like psycho .
April 24, 2023 at 11:39 pm in reply to: “Psycho” singles Eye line & Curse of color in modern cinema. #209313Thank you
Master Roger for your feedbacks.
April 18, 2023 at 8:55 am in reply to: “Psycho” singles Eye line & Curse of color in modern cinema. #207340Hi, thanks Gianni , Master David and ryan.
Great learning the eyeline chocies was well intentional.
Master David could you share your opinion about the color being a distraction part.
Thank you.
April 15, 2023 at 10:50 am in reply to: “Psycho” singles Eye line & Curse of color in modern cinema. #206944Somewhere I heard , one painter saying color is something that disturbs more than it helps,
Do you ever feel the same.
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