Cinematography

Wow, this brings up a wonderful array of formats, sequences and juxtaposition of shots and lighting, moods and the purposes of these elements of cinema, as well as budgets and innovations, great read, thanks for sharing!

Thanks for sharing this Ashley!

Nathan Woodward - I absolutely loved reading your post here. I hope people in my network are inspired by this. You are a brilliantly visual writer and you captured my interest - someone who knows nothing about cinematography - and brought me into your world. A world where I realize the complexities of shifting from adjusting the shutter angle to trusting the digital button that it's happening are enough to make your head spin. You clearly have a love for the craft. You truly, thoughtfully think it through and respect it as an artist. I may not know the technicalities of how to set up an LED light 60 feet away, but man you make me want to try for the artistry of it. I hope you keep posting here because I loved reading this.

Amanda, I am tickled to death that you enjoyed the article. I’m intending on writing another one here pretty soon. One time we were working on a project and it was lunch time, but I had to set up an Arc shot and I’d never done that before so I spent the entire lunch hour getting it ready. #worthit, lol. I have a passion for the entire cinematic process. I have studied it to great lengths and if I’m given a budget to push the envelop I’m going to dive head first lol. Again, thank you for reading the article.

Beautifully said, Nathan! I was lucky to spend my entire first year at film school learning how to use Bolex H16s. At that time, Columbia College Chicago required all film students to exclusively use film cameras before we could do anything digitally. It didn't matter if you were going into producing, directing, screenwriting, cinematography, editing, production design, etc. Every freshman at CCC had to spend their entire first year making short films with the Bolex and trading off on filling every role on set at least once. This of course taught all of us how to light for film first. It was an invaluable experience that aided us all in our later years as our short films became more intricate and complex. It was truly a singular experience to light and carefully set up your shot with a Bolex, and then afterward have to move on without knowing quite how the shot turned out. It taught us all to be careful and thoughtful in our approaches and always make sure that we're getting the coverage necessary without wasting valuable film. The excitement that we would all feel to get our film back and to get to watch it for the first time before starting post, is something I'll never forget. Unfortunately, I was in one of the last classes to have that experience. They've changed their program and no longer use the Bolex cameras at all. It breaks my heart.

I have a Bolex H-16 in my display cabinet. Probably my favorite thing. I love that camera. Didn't even need batteries.

I am glad that you enjoyed the article.

Nathan Woodward yes things are changing quicker than they used to. Many people had issues moving from shooting film to electronic images. There was too much stress on the technology & terminology without incorporating the art of the images, just as there were a surprising number of people shooting film with little understanding of why things were often done in a certain way to achieve a given result. I certainly taught a lot to help the transition to electronic creation. Telling my counter-parts that “there is black at the darkest and white at the brightest, what you see between is your fault” made for interesting follow-ups. It is image creation and that is part of what a DP does.

Electronic cameras have a given sensitivity, just like film. Once known, that sensitivity, the number of images per second and the exposure time of those images, correct exposure for the scene is easily determined based upon the light. Correct and consistent exposure with scene by scene consistent contrast ratios is possible without using light meters but is much much slower. Having shot millions of feet of film, I see no reason to change an this approach when shooting electronic images in controlled environments. The exposure tools in electronic cameras can make an exposure determination but not as accurate and thus not a consistent as knowing the amount of light and the response of the camera. After personally testing a camera to determine sensitivity and latitude, there is no reason not to use your meters for speed, ease and accuracy. With electronic imaging, only a scope matches the accuracy of a professional light meter.

ND vrs closing the iris more? Depends mainly upon the desired depth of field and the optical qualities of the lens in question. Some lenses will develop aberrations with very small iris openings. There is no other effect.

I have to say that I am a huge fan of classic cinema. There were a lot of greats but I'm going to sound like a total fanboy here -

Is there such a thing as too much Toland?

Greg Toland was my absolute favorite Cinematographer. I believe that every scene in Grapes of Wrath was a masterpiece in how to explore Ansel Adams Photographic Zones.

Florin! Great to see you, man. Thanks for the share.

RB, you're welcome! Great to see you too.

I listened recently to the "Ask Me Anything" webinar. Thank you.

Appreciate that, Florin. Enjoyed hosting this latest AMA immensely.

Andrew Sobkovich thank you. I will bear that in my mind, the next time I manage to be shooting a project.

Tip 3 is so important.

This is an excellent video and a great share for the community. Thanks Geoff!

This was super helpful. Even as a director I think It shows some tips how to work with cinematographers

Indeed it does, Catherine. That relationship on set is so important.

Hi, Ryan! What a cool post about the camera work in Evenveil. I will have to check out the links you shared!

This is very cool - thanks for sharing!

Cool stuff! With the right VFX people, the sky is the limit! Thanks for sharing!

Sydney. Crazy right. It's amazing what can be done.

Sam and Stephen. Glad you guys enjoyed it. I was super impressed.

Thanks for sharing, Ryan Little. Wow, Roger Deakins was the cinematographer on some BIG movies! "1917" is one of my favorite War movies.

I agree with Roger when he said, "What the audience wants, what people want as entertainment, has changed," but I don't think filmmaking has changed beyond repair. True, some parts of filmmaking need to be repaired, but it's not beyond repair. I've seen some unique and incredible films in the past few years, and I think these films will continue to be made.

Ryan Little Thanks Ryan, my love for Roger Deakins knows no bounds. In a previous share, I posted a video interview between cinematographers on THR I think.

Deakins was astounded at the lack of knowledge in the history of cinema. He mentioned Jean Pierre Melville’s ‘Army of Shadows’ and the amazing cinematography.

With that in mind we are looking at having a Cinematography Lounge showing of the Army of Shadows. I’ll be writing a blog article shortly, to fan a few flames of interest. The idea is to start a conversation on cinematography and directing and get our community more engaged with filmmaking.

Will keep you posted.

Geoff

Maurice and Geoff. Thanks for the replies. I think you have very valid points and certainly we are lucky to. be a part of this film community and I think some beautifully crafted films are coming.

Janusz Kaminski. He went on to be the DP on some big movies!

Maurice got it. And co-starring Michael Gross from Family Ties with a Noami Campbell turn.

Had to see that movie ... in the theatre too!! A VHS copy ripped from HBO might also be hiding somewhere in my parent's house!! Nice trivia!!

WOW. Blast from the past.

Seeing who the Chief Lighting Technician was, is perhaps more surprising. Paying gig is a paying gig.

Shellie Schmals "A vast amount of VR products were announced at CES 2023, to elevate the immersiveness of filmmakers and moviegoers..." In would love to know how that breaks down in terms of tech versus content and types of content. I worked for a while on a project with 3ality - and we couldn't define any sensible kind of narrative application for so-called "immersive" and VR tech. There are good for games and virtual tours, documentary works, but none of them compare in story telling capability with traditional cinema. in fact, the so-called interactivity actually detracts from that experience and makes storytelling less effective. IMO this tech is good for "event" and "experience" types of products and productions, but the actual application to what most of what we, as filmmakers, do, is limited. There are story reasons for that. Also, it would be incorrect to define traditional linear film as "nonimmersive" or a "passive" exercise. The strength of film is precisely because it engages the audience into an active experience.