It's actually daytime, but "Good Night" sounds more dramatic.
312 has been a great class, and one of the few where I have a hard time imagining anyone walking out disappointed or feeling like they didn't learn anything. It's kind of sad when a class you really love dissolves. I know I'll still be seeing and working with a lot of you next semester, next year, and maybe even years to come, but it's still sad to see your class go. You get attached to idiosyncratic, dynamics of a good class - where everyone sits, the awkward silences between critiques, Anthony's cravings for pizza pie. But I'm comforted by the fact, that everyone has grown so much through the semester. It was weird to come into the class in position of experience ( I use that term relatively) because I was in exactly the opposite position last semester. There are just so many things I could talk about that I loved about this class, I'll keep it to a few...
"Cinematography for Directors" was an excellent book. Rachel did a really great job picking the reading material. This book in particular was so interesting to me though. I like that it dealt with cinematography in a "why" mindset other than focusing on the "how"
Filmmaking is an active and you really have to motivate yourself. Rachel structured the class in a way to reflect that. We did tons of stuff, but how high you set the bar was usually up to you. The scene assignment, the portraits of the place were awesome. I love going through the entire process of working with people, getting something of the ground and completed.
Being around gear and cameras and all that other good stuff lights a spark to learn more. I spend a lot of terms hanging out in the dvxuser, rogerdeakins, creativecow, and cinematography.com forums trying to learn more, but I attribute the spark of that desire to Rachel and the 312 class.
I read in each and every blog posted. I really got excited about seeing what everyone had to see, and I feel like I know everyone better through them.
It's already been said, but there's a lot of talent in the class. The opportunity to be in a school that's actively building it's film department and be surrounded by other filmmakers who are eager to share and talk about their ideas is a blessing.
-Henry
Wednesday, December 1, 2010
I Googled "Money Shots"...
...and I don't think most of the pictures are "classroom appropriate".
I'm not exactly sure how I define the "money shot" when it comes to filmmaking. In class we seemed to talk about them mostly in terms or epic time lapses or some grand shots of the Grand Canyon at sunset. Those can certainly be beautiful , but a lot of times it's just beauty for the sake of beauty.
So in the context of an entire movie, money shots, for me, are those moments when everything comes into perfect harmony. Color, framing, light, wardrobe, production design, direction, ect. It creates a special moment, and it's that whole moment, not exclusively the cinematography, that makes it work. Here are some...
"Hero" this is visually stunning movie. Very stylized and full of money shots.
This is a still from one of my favorite scenes in "The Curious Case of Benjamin Button". Great scene.
"There Will be Blood" The use of wideshots in this movie is incredible. The entire scene with the explosion, the spewing oil, and Daniel Plainview covered in oil holding his son is awesome.
I'm not exactly sure how I define the "money shot" when it comes to filmmaking. In class we seemed to talk about them mostly in terms or epic time lapses or some grand shots of the Grand Canyon at sunset. Those can certainly be beautiful , but a lot of times it's just beauty for the sake of beauty.
So in the context of an entire movie, money shots, for me, are those moments when everything comes into perfect harmony. Color, framing, light, wardrobe, production design, direction, ect. It creates a special moment, and it's that whole moment, not exclusively the cinematography, that makes it work. Here are some...
"Hero" this is visually stunning movie. Very stylized and full of money shots.
This is a still from one of my favorite scenes in "The Curious Case of Benjamin Button". Great scene.
"There Will be Blood" The use of wideshots in this movie is incredible. The entire scene with the explosion, the spewing oil, and Daniel Plainview covered in oil holding his son is awesome.
My torrid affair with DSLR's
I'll preface this by saying I'm a hypocrite. I currently own and shoot on a DSLR. Sue me.
For the most part, I've already given my two cents about the DSLR craze, but I'll say it again. I like the cameras, hate the users (or atleast a lot of the users) so I'll try to add something by trying to be objective about some of the pros and cons I've found in DSLR's
CONS
1. These are small cameras. They're not built for video, nor are they built to support all of the gear/add-ons to turn them into professional production cameras (despite Zacuto and other companies best efforts to shove every possible piece of gear down our throats). Let's stop trying to make them something they're not. A lot of the supposed benefits ( low-light) are sometimes negated by the fact that you have to open up the aperature so wide to get a decent exposure. It makes pulling focus a nightmare, especially off of a non-articulated LCD screen. At time, they feel very impractical for bigger productions.
2. Dynamic range is not so hot. I've heard and read some people trying to crown these cameras as legitimate professional tools suitable to take over the music video, commercial, and yes, even the television markets (der der did you hear they filmed House with it? der der). Right now, that market is still pretty dominated by 35mm, 16mm (The Walking Dead), and newer digital camera like the Red and the new Arri's. Once again, I really have no idea what I'm talking about, but if you think the 5D is a suitable replacement to those you might be high. The dynamic range and latitude for manipulation in post is simply not there. I've personally felt a few times that some of my 5D footage didn't hold up so well after transcoding and color grading. It's still incredible footage for student purposes, but it seems pretty crazy that if given a the choice (cost not being a factor), that anyone would pick the 5D over proven and other high-end emerging digital options.
3. The transcoding process is kind of a pain in the butt. And 5-11 minutes max clip times kind of sucks.
4. They're cheap. Wait, what? That's a bad thing? Well kind of (here comes the hypocritical stuff). An important question to consider - is the democratization of cheap, powerful cameras a good thing? I don't know, but peruse vimeo for awhile and you can decide for yourself. There's some good/great stuff and a lot of really bad stuff.
I digress...
So what do they do well?
PROS
1. They are perfect for travel. I think this is the real bread and butter and revolutionary aspect of the camera that's not being talked about. Who cares if they're limited in they're ability as professional tool. THEY'RE NOT SUPPOSED TO BE PROFESSIONAL TOOLS. For me, the ability to throw my T2i in a small, over-the-shoulder bag and take in anywhere is incredible. It makes a great training tool for any aspiring cinematographer. If you can take a camera with you everywhere you go, you can start training yourself to see the world in a different way. You can teach yourself composition. You can learn how to see light in a different way. You can learn what you like. That is awesome.
2. They make great images. I've seen some incredible things shot on a DSLR. In the right hands and with a good set of lenses, they can can do wonderful, beautiful things.
3. They've inspired me any many others to learn more and make more. Whether or not they really offer everything they're being made out to offer, the perception is what matters. People feel like they can shoot something awesome now. And the upside to all of the squabbling over spec between this cam or that cam has pushed me to learn just what the poo all of that stuff means. It's an exciting time. Everyone's creating and learning.
4. They're cheap. Yep, really, really cheap considering some of the features you're getting. There may be a million hipsters out there shooting vintage, verite' style poo-poo, but if there is some twelve year old right now preparing to shoot the next "Citizen Kane" that would be worth it.
Ahh, so many of the pros are also cons. I guess that's what we in the long-winded, circular logic business call a double edged sword. Any tool is only as good as the filmmaker holding it.
BYE, BYE
-Henry
Tuesday, November 30, 2010
Monday, November 29, 2010
Artist Statement
Sometimes the answer is as simple as "Because".
For me being a cinematographer is matter of purpose. Horses run, monkeys climb, and I shoot.
It's a deceptively simple mantra. I don't have any grand notions about what an artist does or doesn't do. I don't even consider myself an artist. I'm just doing what I feel like I'm suppose to do, and I believe it's that sense of purpose and instinct that drives my work.
My first real experience as a filmmaker was shooting a short documentary about teens coming of age in small-town Alabama. For me, this was a foundational experience. I learned how to tell a story and communicate through visuals. It was trial by fire and the resulting images weren't always the best, but there was a sense of earnestness in many of the shots that came from following my gut. Although I've since moved on from that exhilarating first foray into documentary and into a variety or other styles, I feel like there is a piece of it carried into every project. It's still early, and my journey as a storyteller will surely be filled with it's share of road-blocks and frustration. But during the hard times, I take comfort in the simplicity of my "Because". It's the answer to 14 hour shooting days, early call times, and blown shots. Whether the project is a small backyard shoot with friends or a large film set, I come to shoot with wide eyes and eager hands. Most importantly though, I come to shoot because it's what I'm supposed to do.
-Henry
Sunday, November 28, 2010
What Makes a Good Reel
What makes a good reel? I don't know.
The End.
No seriously, I think the most difficult thing about reels (and for the purposes of this post I'm talking about DP reels) is that they're so subjective. I think the first question you need to ask to piece together the answer is "Why am I making a reel?" Fun? Class assignment? Internship? Employment?
Although, our reels are primarily for the purposes of this class, I'm hopefully putting together a reel that will snag an internship or job when the time comes. So I try to think about my reel from a perspective employers POV.
When I'm watching a reel there are a few things I like to see. Some of them are nit-picky, borderline A-holeish things, and some of them are major. Most employers, now prefer online reels, and let's be honest 2.5 minutes of internet time is like 4 hours of real-world time. How many times do you click on an internet video and turn it off thirty seconds in? Do you want that be your reel?
-For crying out loud, pick a decent font. It sounds trivial, but I think it's pretty big. Part of being a DP is sense of style and design, and those standards should extend across your reel. From the perspective of any busy employer, if I turn on a reel and your name comes up in Comic-Sans I will turn it off. Any kind of overly elaborate font/graphic can be an equal turn-off. If you don't feel confident, stick with something safe or spend some time researching. And please don't stick with the default font in Final Cut.
-Music. I've read a lot of different stuff when it comes to music in reels. I've heard everything from no music (because some employers will actually mute your reel to focus on the visuals) to music is one of the most important pieces of your reel. I think the answer is probably somewhere in the middle. Rachel touched on this in class. Please don't select music with sucha driving beat that pacing feels dictating by the song. I'm not saying that occasionally editing to the beat is a bad thing, but allow your shots to speak for themselves. Think about the content of your shots, and the best natural compliment to them. Also keep in mind that your reel is a showcase for an employer and not a mix-tape to impress your girlfriend or boyfriend. Apple loops? Please don't.
-Can you light a scene? No, seriously, can you? For me, this is a big one. This is another by-product of the DSLR wave is that people aren't lighting scenes anymore. If your reel is entirely outside shots with natural light, I'm going to assume you don't know how to light a scene no matter how beautiful your exteriors are.
-Strong beginning, middle, and end. It sounds like common sense, but alot of reels seem to either front load or back load.
-Cohesion. If you can't edit, that's fine. Hire someone who can. The fact that it's a DP reel doesn't excuse a poorly edited reel. Keep in mind that your entire reel is representation of you. Don't shoot yourself in the foot. On the opposite end of that comment, it's a DP reel and not an editing reel. Don't edit the poop out of the footage.
and most importantly...
-Your personal stamp. There are tons and tons of DP's that can shoot some pretty pictures, especially with the influx of DSLR filmmakers. I like to feel something when I watch a reel. Although the shots may be from a ton of different projects in a variety of styles, I like to feel a common thread running throughout. That thread, I think, is what separates you from other DoP's. That's what gets my attention. That's why I hire you.
Here are some I've seen on vimeo that I like.
http://vimeo.com/6134256
http://vimeo.com/7462334
http://vimeo.com/12215902
http://vimeo.com/13846247
BYE, BYE
-Henry
The End.
No seriously, I think the most difficult thing about reels (and for the purposes of this post I'm talking about DP reels) is that they're so subjective. I think the first question you need to ask to piece together the answer is "Why am I making a reel?" Fun? Class assignment? Internship? Employment?
Although, our reels are primarily for the purposes of this class, I'm hopefully putting together a reel that will snag an internship or job when the time comes. So I try to think about my reel from a perspective employers POV.
When I'm watching a reel there are a few things I like to see. Some of them are nit-picky, borderline A-holeish things, and some of them are major. Most employers, now prefer online reels, and let's be honest 2.5 minutes of internet time is like 4 hours of real-world time. How many times do you click on an internet video and turn it off thirty seconds in? Do you want that be your reel?
-For crying out loud, pick a decent font. It sounds trivial, but I think it's pretty big. Part of being a DP is sense of style and design, and those standards should extend across your reel. From the perspective of any busy employer, if I turn on a reel and your name comes up in Comic-Sans I will turn it off. Any kind of overly elaborate font/graphic can be an equal turn-off. If you don't feel confident, stick with something safe or spend some time researching. And please don't stick with the default font in Final Cut.
-Music. I've read a lot of different stuff when it comes to music in reels. I've heard everything from no music (because some employers will actually mute your reel to focus on the visuals) to music is one of the most important pieces of your reel. I think the answer is probably somewhere in the middle. Rachel touched on this in class. Please don't select music with sucha driving beat that pacing feels dictating by the song. I'm not saying that occasionally editing to the beat is a bad thing, but allow your shots to speak for themselves. Think about the content of your shots, and the best natural compliment to them. Also keep in mind that your reel is a showcase for an employer and not a mix-tape to impress your girlfriend or boyfriend. Apple loops? Please don't.
-Can you light a scene? No, seriously, can you? For me, this is a big one. This is another by-product of the DSLR wave is that people aren't lighting scenes anymore. If your reel is entirely outside shots with natural light, I'm going to assume you don't know how to light a scene no matter how beautiful your exteriors are.
-Strong beginning, middle, and end. It sounds like common sense, but alot of reels seem to either front load or back load.
-Cohesion. If you can't edit, that's fine. Hire someone who can. The fact that it's a DP reel doesn't excuse a poorly edited reel. Keep in mind that your entire reel is representation of you. Don't shoot yourself in the foot. On the opposite end of that comment, it's a DP reel and not an editing reel. Don't edit the poop out of the footage.
and most importantly...
-Your personal stamp. There are tons and tons of DP's that can shoot some pretty pictures, especially with the influx of DSLR filmmakers. I like to feel something when I watch a reel. Although the shots may be from a ton of different projects in a variety of styles, I like to feel a common thread running throughout. That thread, I think, is what separates you from other DoP's. That's what gets my attention. That's why I hire you.
Here are some I've seen on vimeo that I like.
http://vimeo.com/6134256
http://vimeo.com/7462334
http://vimeo.com/12215902
http://vimeo.com/13846247
BYE, BYE
-Henry
Roger Deakins, ASC, BSC
Alright, alright. I think Roger Deakins has been named dropped in nearly every post I've done this semester. He's an amazing photographer capable of creating anything, but my respect for him goes beyond the stunning images he creates. The biggest reason he's my favorite cinematographer is because of his commitment into giving back and helping grow the interest of other DP's. If you've never been to his site - www.rogerdeakins.com - it's an invaluable tool for an filmmaker, especially cinematographers. Here he runs an open forum to which he and a community of other filmmakers provide answers, advice, and feedback to aspiring, curious filmmakers. Besides running the gamut of topics from cameras and lights, there's great insight here (both from Deakins and others) into the mind of a good cinematographers.
Deakins began painting at a very young age which developed into an interest in photography. From here, he moved into shooting documentaries. He shot around the world for nearly seven years before moving into features. For me, shooting documentary was probably the most valuable education experience I ever had. It teaches you about movement, interaction, and most importantly how to start thinking like a visual storyteller. Listening to Deakins talk, he seems completely free of pretension. In the documentary "Cinematographer's Style" I found him to be the most consistently interesting voice. He speaks openly and honestly about his passion: He shoots because he likes it. I like that mantra, and I feel like it's one I've adopted as I've grown. It's as simple as that most of the time. When asked about metering his exposures, Deakins has said on multiple occasions that he lights mostly by eye, and only checks his meter for reference.
Deakins' straightforward, old school personal approach always seems to carry into his work. There's a reality to every scene he shoots. I think a big part of that is that he approaches things from a practical standpoint. When asked about how he lit a particular shot, his answers always seem surprisingly simple - bounces, practicals, natural (or atleast augmenting natural light). He respects the details the shots. It seems like people are always talking about getting that "film look" by crushing their depth of field, but Deakins doesn't rely on this. In fact, actively seeks to preserve details. His focal length of choice? A 32mm. Deakins has said (both in "Cinematographer's Style" and on his forums) that he's shot entire films almost exclusively on a 32 mm lenses. His camera movements are so beautiful you often don't even realize their moving because they flow so well from shot to shot.
I actually feel kind of stupid posting pictures or clips from some of the films Deakins has shot, mainly because of been harping on them throughout the semester (Fargo, No Country for Old Men, and The Assassination of Jesse James by the Coward Robert Ford being among my three favorites). So now I'll just highlight a few among them that I haven't touched on.
<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/yrEAEXFJGo0?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess"
"The Ladykillers" It's not the most popular Coen Brothers film, but I really like it. The period-feeling photography is beautiful too.
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"The Shawshank Redemption" I think this was one of his first movies in American that really drew him lot of attention.
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The Coen Brothers remake of "True Grit". It's our Christmas Day, and it's going to be insane.
The end
P.S. honorable mentions to Robert Elswitt, Nestor Almendros, and Sven Nykvist ( I haven't actually seen too may of the movies he shot, but I watched a very good documentary on him called "The Light Keeps me Company" - it's on Netflix instant
Deakins began painting at a very young age which developed into an interest in photography. From here, he moved into shooting documentaries. He shot around the world for nearly seven years before moving into features. For me, shooting documentary was probably the most valuable education experience I ever had. It teaches you about movement, interaction, and most importantly how to start thinking like a visual storyteller. Listening to Deakins talk, he seems completely free of pretension. In the documentary "Cinematographer's Style" I found him to be the most consistently interesting voice. He speaks openly and honestly about his passion: He shoots because he likes it. I like that mantra, and I feel like it's one I've adopted as I've grown. It's as simple as that most of the time. When asked about metering his exposures, Deakins has said on multiple occasions that he lights mostly by eye, and only checks his meter for reference.
Deakins' straightforward, old school personal approach always seems to carry into his work. There's a reality to every scene he shoots. I think a big part of that is that he approaches things from a practical standpoint. When asked about how he lit a particular shot, his answers always seem surprisingly simple - bounces, practicals, natural (or atleast augmenting natural light). He respects the details the shots. It seems like people are always talking about getting that "film look" by crushing their depth of field, but Deakins doesn't rely on this. In fact, actively seeks to preserve details. His focal length of choice? A 32mm. Deakins has said (both in "Cinematographer's Style" and on his forums) that he's shot entire films almost exclusively on a 32 mm lenses. His camera movements are so beautiful you often don't even realize their moving because they flow so well from shot to shot.
I actually feel kind of stupid posting pictures or clips from some of the films Deakins has shot, mainly because of been harping on them throughout the semester (Fargo, No Country for Old Men, and The Assassination of Jesse James by the Coward Robert Ford being among my three favorites). So now I'll just highlight a few among them that I haven't touched on.
<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/yrEAEXFJGo0?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess"
"The Ladykillers" It's not the most popular Coen Brothers film, but I really like it. The period-feeling photography is beautiful too.
<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/6hB3S9bIaco?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/6hB3S9bIaco?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>
"The Shawshank Redemption" I think this was one of his first movies in American that really drew him lot of attention.
<object width="640" height="385"><param name="movie" value="http://www.youtube.com/v/CUiCu-zuAgM?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/CUiCu-zuAgM?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="640" height="385"></embed></object>
The Coen Brothers remake of "True Grit". It's our Christmas Day, and it's going to be insane.
The end
P.S. honorable mentions to Robert Elswitt, Nestor Almendros, and Sven Nykvist ( I haven't actually seen too may of the movies he shot, but I watched a very good documentary on him called "The Light Keeps me Company" - it's on Netflix instant
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