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I’d also say it depends. On the scale of the production and the ‘culture’. I’ve had colorists crank up my exposure to ‘see more’ despite killing all of the – clearly intended – mood. I don’t even know who’s decision it was because in many productions I am out of the process once shooting is done.
Roger said in this forum that he sits with the colorist through every single shot and overviews the decisions (very minor tweaks in general).
I’ve heard almost every episode and learned so much in each one. There’s a fascination for me to hear from people who are actually great at what they’re doing, so thank you Grant and the Deakins’ for sharing with us. It really feels like a hidden treasure island.
I agree location is important and grey tiles explain the falloff at the back. If you find a fitting location, one of your panels should be enough to recreate this but you’ll need to test.
Your approach was totally normal. Sounds like a guy to stay away from in a collaborative environment like filmmaking. Even if he was right (which he apparently was not), the way he handled the situation is an immediate red flag. In my experience, these people are not only a toxic factor to an already stressful process, but often actually lack skills and try to mask it with such behavior.
“an opengate mode on the Panasonic s1h I can use as an a cam”. I was hoping for that too and tried to contact Lumix about it but I guess they don’t care at this point. My hope is they reserve it for a S1H successor. Open Gate with external Braw recording for use with anamorphic lenses would be a great high quality budget solution.
That’s one of his trademarks, right – make it look so natural that you think it was. Few people can imo.
Roger, I will direct my first feature next year and this advice is great for me as well. Thank you and James very much for sharing your knowledge so patiently with us here.
And follow up questions: the whole scene turns from heavy rain to snowfall. Was this planned? Was it natural rain/snow mixed with rain/snow machines?
In general, do you try to schedule rainy EXT scenes to potentially rainy days and then support with rain machines (something I would need to do on low budget projects)?
A C-LUT function (Cinematographer Lookup Table), where you can load your favorite DP and the camera automatically mimics their framing, lighting and camera movement.
