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TECHNICAL KNOWLEDGE - For Cinematographers

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Content provided by James Ellis Deakins and Roger Deakins. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by James Ellis Deakins and Roger Deakins or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ro.player.fm/legal.

SEASON 2 - EPISODE 113 - Technical Knowledge for Cinematographers - with David Mullen

In this special episode of the Team Deakins Podcast, we’re joined by our friend and cinematographer David Mullen (Season 1, Episode 83) to discuss what and how much technical knowledge a cinematographer ought to know these days. The conversation includes specific explanations of technical details (such as the difference between film grain and digital noise) and more general subjects (such as the importance of telling a story and eliciting an emotional response from the audience). We also share a number of work stories, including Roger’s early-career exposure to cinematographer Douglas Slocombe’s internal light-meter and David’s experience seeing his work on a TV show smothered by a yellow filter during post. Reflecting on the diversity in images in older Hollywood films despite limited film stock and optical options, we maintain the position that the look of a film is the product of a cinematographer’s eye (rather than the technology one uses), and David elucidates how cinematographer Oswold Morris developed the desaturated look of director John Huston’s adaptation of MOBY DICK using the technology available to him to serve the storytelling. We also reflect on the lost knowledge of how films were made in the early digital days of the 2000s and stress the need to study and remember filmmaking history, recent and ancient. Towards the end, we also consider director Yasujiro Ozu’s prolific and effective use of a single 50mm lens when the conversation drifts towards the phenomenon of people avoiding “boring lenses”. Plus, we highlight the need to understand basic high school mathematics (no excuses!).

Cinematographers at all levels, from the aspiring to the battle-worn, can enjoy and learn from this discussion, and we hope you enjoy listening.

-

This episode is sponsored by Aputure

  continue reading

276 episoade

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TECHNICAL KNOWLEDGE - For Cinematographers

Team Deakins

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Manage episode 447598976 series 2750147
Content provided by James Ellis Deakins and Roger Deakins. All podcast content including episodes, graphics, and podcast descriptions are uploaded and provided directly by James Ellis Deakins and Roger Deakins or their podcast platform partner. If you believe someone is using your copyrighted work without your permission, you can follow the process outlined here https://ro.player.fm/legal.

SEASON 2 - EPISODE 113 - Technical Knowledge for Cinematographers - with David Mullen

In this special episode of the Team Deakins Podcast, we’re joined by our friend and cinematographer David Mullen (Season 1, Episode 83) to discuss what and how much technical knowledge a cinematographer ought to know these days. The conversation includes specific explanations of technical details (such as the difference between film grain and digital noise) and more general subjects (such as the importance of telling a story and eliciting an emotional response from the audience). We also share a number of work stories, including Roger’s early-career exposure to cinematographer Douglas Slocombe’s internal light-meter and David’s experience seeing his work on a TV show smothered by a yellow filter during post. Reflecting on the diversity in images in older Hollywood films despite limited film stock and optical options, we maintain the position that the look of a film is the product of a cinematographer’s eye (rather than the technology one uses), and David elucidates how cinematographer Oswold Morris developed the desaturated look of director John Huston’s adaptation of MOBY DICK using the technology available to him to serve the storytelling. We also reflect on the lost knowledge of how films were made in the early digital days of the 2000s and stress the need to study and remember filmmaking history, recent and ancient. Towards the end, we also consider director Yasujiro Ozu’s prolific and effective use of a single 50mm lens when the conversation drifts towards the phenomenon of people avoiding “boring lenses”. Plus, we highlight the need to understand basic high school mathematics (no excuses!).

Cinematographers at all levels, from the aspiring to the battle-worn, can enjoy and learn from this discussion, and we hope you enjoy listening.

-

This episode is sponsored by Aputure

  continue reading

276 episoade

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