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Great insight!
Are you referring to the Christian Bale rant on the set of ‘Terminator Salvation’ in 2009?
“Bale verbally goes off on the film’s cinematographer Shane Hurlbut, who had walked onto set to check a light during the filming of a scene. This was apparently the second time he had done this…”.
I would say that is a very different situation than adjusting the lights when the actors arrive on set, which is being done all the time on the productions I am on. But I also don’t know the workflow on bigger budget productions.
Agree with David – (endless) activity and reflectivity. I don’t think there’s a “most ROI”.
I always loved (but never tried) the “BroomCam”: rig a camera onto a broom for an ultra low ‘steadicam’.
March 24, 2023 at 12:13 pm in reply to: Shooting everything in Tungsten balance the same as not using an 85 filter? #197561” Is there any benefit to doing this versus a correct white balance in digital?!”
No. You could make tests but I don’t see this resulting in anything desirable.
What is holding the tunnel? If you sew several pieces together you could hide the seam near the scaffold. Lighting from outside could help to hide the seams too depending on the intensity of light and thickness of fabric.
“There was a serious flare but I placed a small square of white tape in the middle of the bulb facing camera and that dealt with the flare.”
Love it!
If I remember correctly 16mm was an early consideration but he went with 35mm.
Sounds great!
I don’t think it’s wrong, just too weak maybe.
If you had used a rim light, it would have separated the subject – but then it also would have looked exactly the same as thousands of other music videos shot against black. So there’s really no right or wrong.
“but a problem can arise when an actor comes in the next day with a different idea.”
Sooo, what happens if the idea is bad? How often does it happen that you have to change things for the worse because of an actor’s leverage?
Interesting, thank you!
Do you like working like you did on “Empire of Light”, where you figure it out on the day of shooting? (I feel a stressful pressure to deliver ‘right here, right now’ if I cannot ponder ahead of shooting)
“About the “bad cinematography”, would you include in it great movies with stunning images but that are so beautiful that you tend to forgot what’s their purpose and you simply stare at them?”
Good question, I just know that whenever film critics start with “The visuals are stunning” or “The landscapes are breathtaking”, I can be quite sure that the story is lacking 🙂
Thanks but I was asking if anyone knows any films that use predominantly short travel, slow dolly moves.
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