Episode 84 - MATTHEW LIBATIQUE - Cinematographer (6 replies and 4 comments)
We speak with Matty Libatique in this episode. In our conversation, he shares his experiences of working with director Darren Aronofsky as well as working with director Spike Lee. He touches on the importance of proper exposure in your footage and learning from each film that you make. We also learn about his experiences in the DI process and working on the film A Star is Born. We talk about lighting the frame or framing the light, shooting super 16mm on Black Swan, lenses, and much, much more! You won’t want to miss this episode!
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I REALLY would like to know what films Matty Libatique shot in both anamorphic and spherical. That intrigued the hell out of me.
Found this for you Hope it helps
Matthew Libatique is an American cinematographer. He is best known for his work with director Darren Aronofsky on the films Pi (1998), Requiem for a Dream (2000), The Fountain (2006), Black Swan (2010), Noah (2014) and Mother! (2017). He also shot Bradley Cooper's directorial debut film, A Star Is Born (2018).
Libatique also work as an cinematographer in the films Tigerland (2000), Phone Booth (2002), Iron Man (2008), Iron Man 2 (2010) and Venom (2018).
He has received two Academy Awards nominations for Best Achievement in Cinematography, one for Black Swan and the other for A Star Is Born.
- IMDb Mini Biography By: Pedro Borges
You can find some of that kind of information on imdb.
Got it, thanks.
This is very helpful. I recall those differing looks in STRAIGHT OUTTA COMPTON specifically now. Thanks.
Does anyone recall the name of the painter that Matthew mentioned as a shared inspiration with director Rashid Johnson on Native Son? I want to say he mentioned a painter or photographer somewhere?
Dear master roger and james i was hearing this podcast. I noticed you were both talking about monitor calibration. How to do monitor calibration for each camera set up. Everyone simply said it's DIT job. But sometimes DIT doesn't know much about that issue. They don't know how much contrast, brightness, saturation level must be! I know james got enormous experience in this case. James please kindly share your experience about monitor calibration. Suppose if it's low budget what kind monitor do you prefer? Scientific monitor always much cost!
The DIT sets the monitor to specific levels, of brightness, saturation, contrast etc., so it is a matter of checking levels rather than making a judgement. I never change a monitor' base settings from scene to scene. That would seem to be a way to create chaos! Making timing adjustments from scene to scene is something different again.
What kind of monitor do you use for low budget movie.