Research Project
Student ideas:
Case Study: Studio Ghibli
Case Study: Sayombhu Mukdeeprom
Case Study: Emmanuel Lubezki
Case Study: Roger Deakins
Case Study: Łukasz Żal
Chosen ones:
1.2 Case Study: Roger Deakins
1.3 Case Study: Emmanuel Lubezki
Mark scheme
CASE STUDY 1
HISTORICAL CONTEXT
1.1 Critically describe a range of contextual perspectives influencing a chosen discipline in creative media production
To begin this research project I am going to discuss the basics and foundations that make up Cinematography as an art form and the laborious techniques that form this craft.
Firstly, chief Cinematographers, also known as Directors of Photography (DP) are the second most important person on a film set, the first being the Director. A Cinematographer controls the lighting, framing, spacing and movement of each camera shot, this allows them to manipulate the audiences perspective of the story. The DP are also responsible for the whole camera crew and have to instruct the grip and electric departments who are in charge of the lighting, power and support gear. The DP choses the camera they use in production e.g this includes deciding whether to shoot on film or digital, the types of lenses, the types of camera settings and choosing certain support gear.
Cinematographers also have to chose what equipment they need for camera movement, e.g tripod, dolly, steadicam etc.
Camera settings are hugely important to Cinematographers as they must know the following:
- Frame rate to know the frequency for which the film is displayed and recorded at. 24 frames per second (FPS) is the industry standard, which means one second of film consists of 24 single images.
- Dynamic range to know the ability at which the camera will capture both lights and darks at once, e.g there are at least 12 stops of dynamic range used on cameras for major motion productions.
- ISO settings, whether the cinematographer shoots on film or digital they must adjust the ISO settings, this is important to do as the lower the ISO setting is the better the 'quality', and the higher the ISO setting is the more grain and noise appears on the camera.
The DP also works very closely with the lighting department to decide on lighting equipment such as Tungsten bulbs, HMI, Fluorescent and LED:
Lighting types
- Tungsten bulbs require lots of power and heat up quickly, it also creates an orange hue at around 3200k
- HMI (Hydrargyrum Medium-Arc Iodide) lights are 4x more powerful than incandescent bulbs, they amid an ultraviolet light with a blue hue
- Fluorescent lights are very soft and offer multiple colour temperatures
- LED (Light Emitting Diodes) are manufactured in every colour, the diodes offer directional light but their output is weak
Three point lighting
Three point lighting is a standard production lighting setup, it uses three different lights:
- Primary light source is the 'key light' this light shines directly onto subjects from left to right and captures the 'feel' of the shot
- Second light is the 'fill light' which fills in the subject with a softer light, the fill light is always positioned on the opposite side of the key light
- Third is the 'back light' which is used at the back of the subject, it should 'create a rim of light around the background of the subject''
Source usefulness - Overall, I found this source to be very useful as it covered the whole scope that makes up the foundations of cinematography. e.g camera settings, lighting types. I also found that this source helped clearly convey to me the general rules and responsibilities of a cinematographer, without over complicating the technicality and instead made it accessible for a beginner to understand, such as myself.
Brief history of Cinematography
The beginning of Cinematography began in the late 1880s, and during this time they created an illusion of motion by combining photos together. A quote from the resource, 'The earliest surviving motion picture is the “Roundhay Garden Scene,” which was created in 1888 and is just 2.11 seconds long.'
The invention of cinematography tends to be credited to the Lumiére brothers who first used a camera and projector to create the first motion picture apparatus. Their invention was publicised in 1895. During the early 20th century film evolved and narratives were very abstract and experimental in their style. It wasn't until 1929 until sound became part of film too.
Three great early filmmakers who were innovators of their time were, Edwin S. Porter (The Great Train Robbery) and Alice Guy Balché (The Cabbage Fairy). Blaché was actually the first female filmmaker in the world during this time.
The introduction of close ups, fade outs, soft focus and backlighting were firstly introduced by the director D.W Griffith and the cinematographer Billy Bitzer. These two artists collaborated together on 500 films between 1908 - 1924. Their work evidences the first use of camera techniques still seen today, setting the foundation for future filmmakers, particularly cinematographers.
The studio era of cinematography began shortly after sound was introduced in film. The directors had to ensure in their films that they captured the style of the studio. During this time there were five main film studios, Paramount, Warner Bros., RKO, MGM and 20th Century Fox, each had their own significant style.
In 1941, the classic film 'Citizen Kane' was released and it revolutionised cinema, introducing it into the modern era. The director of photography on Citizen Kane, Gregg Toland evolved the visuals craft by experimenting first with lighting, deep-focus and lenses.
Introducing the modern era, filmmaking was changed forever, the 1950s and 60s showed how film was independent from television and introduced coloured film and new widespread formats such as Cinemascope and Cinerama. Cinematography developed and pushed boundaries as unions at this time were less strict and allowed young directors of photography to expand their wings and create films in their own style, capturing their own vision, not just following old convections.
Cinematography has many evolved due to the development and progression within technology. A prime example of how technology within film has developed is the use of colour. Early films were shot in black and white and even once coloured film was first feasible, they usually shot in monochrome then in post production would add colour, this was due to expenses of filming in colour.
Natural colour processors were introduced in the early 1900s, e.g Kinema colour, Technicolour, Kodachrome and Eastman colour all of which allowed filmmakers to shoot in colour, therefore changing the technologies of film forever.
Lastly, once digital film was fully utilised by cinematographers in the early 2000s, it evolved filmmaking forever and by 2010 it was the main medium for filmmaking.
I have chosen to research both Roger Deakins and Emmanuel Lubezki because I find their cinematography to be phenomenal and very emotive. I also have a huge passion for cinematography and am interested in pursuing it as a career in the future. However, I am still exploring the various roles in filmmaking.
Source usefulness - Overall I found this source quite useful, it covered a vast amount of information concisely and stated clearly the key shifts and developments within cinematography and filmmaking that have influenced the craft to becoming what it is today. I found the historical background of the unions was very interesting as I was unaware they even existed during the 1950s and 60s within film. This source also taught me more about natural colour processors and the development of how digital dominated the industry.
THEORETICAL CONTEXT
1.2 Apply knowledge of critical perspectives to inform own practice.
Roger Deakins
The Goldfinch - Cinematography
In this podcast Roger Deakins explained specific aspects of filming 'The Goldfinch' alongside the director John Crowley. Deakins stated that he shot the film on digital and explained how the advantage of shooting digital for this project "offered more evaluation of a scene and conversation in terms of collaboration."
Deakins recalled the pre-production process and remembered visiting the set of the Amsterdam apartment location, he stated that the particular apartment they had chosen for that location was ideal for the collection of scenes because the window framing of where the protagonist, (Theo Decker played by Ansel Elgort) would look out to was very reflective of the emotional relation to the character, as the window acted like bars to a prison cell and emphasised Theo's isolation mentally and physically to the outside world.
Deakins also stated how when he and Crowley were plotting the explosion scene at the museum, they wanted to ensure they focused on the protagonist perspective and Deakins thought of having the shots focus heavily on small details e.g close up of the mother's hand on her son's shoulder slowly letting go, the small glances between Theo and Pippa's first encounter etc. Deakins wanted to capture these small brief moments to emulate the feeling of childhood trauma and the realism of only remembering fragments of the event, rather than having the whole sequence of shots be distant and inclusive of all the action.
Source usefulness - Overall I found this source to be quite useful as it featured direct responses from Roger Deakins himself which clarified the factuality of the information. It also informed me of detailed production notes on the camerawork in the explosion scene that I thought was informative when learning about Deakins production process on set.
In this interview Deakins stated he used the digital camera called the Arri Alexa. He also stated that for the three different filming locations, Amsterdam, New York and Albuquerque (set as suburban Las Vegas) he wanted three different looks, for example, Deakins wanted Albuquerque to have hostile lighting, much like in the novel.
Deakins explained to the interviewer that when filming the explosion scene he, "chose to have certain shots be out of focus e.g the mother's hand, Pippa's hand letting go of her music case etc." This artistic choice was purposeful to the protagonist's perspective as this event would be returned to within the film but as fragmented memories. Having certain shots emulated that feeling of scattered memories and the haziness that comes with trauma.
Deakins also explained that the last scene of the film was shot before the explosion scene shown in the beginning, this was due to logistical issues as the team only had once chance to film the bomb exploding and had to film the scenes leading up to it before, this was so that they didn't mess up the structure of thew narrative too.
Lastly, Deakins also stated in the interview that he was allowed to dictate what time of day they were shooting.
Source usefulness - Overall I thought this source was very useful, this is because it featured Deakins explaining about the camera type he used on set and how his decisions on lighting we're dictated by the locations and their atmosphere within relation to the book etc. All of these informative points helped me uncover more about the cinematographic process that Deakins went through on The Goldfinch.
In this interview Deakins exclaimed that the different colour palettes of the film were distinguished by the major three locations and their contrasting looks e.g Amsterdam, New York and Albuquerque (set as suburban Las Vegas). He also stated that the his cinematography style for this film focused on simplicity as he tried hard to capture the protagonist's perspective in each shot.
Lastly, Deakins in this interview also spoke about his general experience when working with actors on films and how some preferred to converse about the characters and narrative, where as others enjoy to be more reserved and do their own thing, but he said that the most important thing was for the actors to be comfortable.
Source usefulness - Overall I found this source to be not very useful, it reiterated points and information that I had gathered previously using my other sources and drifted away from Deakins camera work on The Goldfinch and instead asked more about the pre-production process of his initial thoughts on collaborating with the director and reading the novel.
In this article Deakins went into depth about the technical side of the cinematography and stated that he framed The Goldfinch with an aspect ratio of 1.85:1. He also said how he shot the film in open gate mode (chiefly at 800 ISO) with Zeiss Master Prime Lenses. "The camera and glass package were supplied by Camera Services in New York, in association with Otto Nementz in Los Angeles."
Deakins also explained that he liked the 'clarity' of the Zeiss Master Prime Lenses and to soften the image he would do so by changing the exposure or lighting. He also mentioned how he experimented with depth-of-field when filming the explosion scene, and exclaimed that it captured the director's want for an 'abstract feeling'.
Source usefulness - Overall I thought this source was very useful as it disclosed information about the technical aspects of Deakins camera e.g aspect ratio, lenses etc. I found this article to be the most useful source when researching Deakins work on The Goldfinch because it covered the most information about the technological part of his cinematography.
Blade Runner 2049 - Cinematography
In this article Deakins explained how him and the director, Denis Villeneuve would make sure in pre-production that each scene would be translated encountering the script and that they talked through the storyboarding process, working closely with the production designers, Dennis Gassner and Alessandre Querzola. Deakins also stated him and the director work well together as they have similar styles of working such as using one single camera etc.
In this interview Deakins mentioned that for the look of the antagonist's room, "I wanted his interiors to always be about waving light as though he had this sunlit interior" - which contrasts to the exterior grey bleak world. Deakins also mentioned how he drew influence from different architects to analyse how they used light to which he could apply those similar styles into the film's look.
Source usefulness - Overall I found this source to be not very useful, it only covered a small amount information on the technical aspects of the cinematography and did not go into depth about lighting bulbs for there film. However, it was useful to hear Deakins briefly discuss his lighting inspirations and has given me the idea to look at architects and see if I can find inspiration for my film.
In this article the author breaks down Roger Deakins cinematography style in Blade Runner 2049. The author started off by saying how,"Fog appears in many minimal shots, giving the idea of a big and forbidding world; characters breathe a cold and unhealthy air". I agree with the authors statement as I too felt Deakins captured that sense of toxicity and vastness with the use of fog.
The author also exclaimed that "minimal and panoramic landscapes were filmed with wide angle lens" and "white is used in minimal frames, to evoke the idea of solitude, silence and death". I found both this points useful as they exposed both the technical and emotive side of Deakins cinematography in this film.
Lastly, the author explained that,"Roger Deakins used a circular apparatus with 286 moving lights mounted in two concentric rings" - this created a silhouette of water against the antagonist's interior room. I found this fact very informative as I was curious to know how Deakins created this effect technically and how many lights he used to capture the silhouette.
Source usefulness - Overall I found this article quite useful, it raised points and statements that I agreed with and showed me new perspectives on certain scenes. The article also taught me more about Deakins technical aspects when filming such as the wide lens for certain shots and the creation of the silhouette which I found to be very informative.
In this article Roger Deakins was interviewed about his experience filming Blade Runner 2049. Deakins began to describe his inspirations for the visuals, stating that "I watched Andrei Tarkovsky's Solaris a couple times" and that he also did,"general searches on the internet relating to stern, modern, brutalist, concrete architecture, looking at how they use natural light as part of their deigns".
Deakins told the interviewer that they had searched for studio spaces in the UK but had no luck and he stated, and I quote,"broaden our recess to Slovakia and Hungary, where we found a number of fascinating locations - including an old soviet power station."
In the interview, Deakins mentioned that when deciding which camera he wanted to use on Blade Runner 2049, he had tested both the Arri Alexa and Arri Alexa 65, however he decided on the Alex XT because it had, "certain texture and activity in the image", which Deakins liked the most. He also told the interviewer that he shot on spherical and 2:40:1 because it works on IMAX. Deakins said it works because,"extra space top and bottom negates the need to crop the frame".
For filming Deakins explained that he used Zeiss Master Prime lens (the same as on The Goldfinch) because, and I quote,"Mater Primes are the fastest, sharpest lenses I could get my hands on".
He also said when filming the characters he shot on 32mm. On the pre-production process, Deakins also explained he had to "make extensive tests on the camera and lenses" and spent "a lot of time working on special lighting pre viz, so we knew how the lighting had to be rigged".
In terms of lighting the film, Deakins said he use one LUTs and to create the illusion of overhead flying vehicles he used Colour Blast LED lights/Bad boy spotlights. He also said that "one set is lit by 40x30 LED Screen". Also, Deakins mentioned how on Blade Runner 2049 it was his first time using Light Design Kft.
Deakins also spoke about how in production he had the camera on Aerocrane and explained that,"this is a sectional jib arm that can extend to around 14ft and I use it in conjunction with Power Pod remote head". When asked about the challenges Deakins faced, he explained the laborious set up of the storm scene and said they used,"50ft cranes with remote hyrdo heads, plus an Aquacam MK5 housing for the Alexa XT, plus two Nauticam housing for the Alexa Minis, so each could move with the waves and submerge when necessary. Also Deakins said the film took a total of 91 days to shoot.
Lastly, Deakins was asked about the post-production process and said that he worked with his regular DI (digital intermediate) grader, Mitch Paulson and then he oversaw the 3D and HDR versions of the film.
Source usefulness - Overall I found this source to be incredibly useful, it disclosed lots of varied information about lens, camera types, lighting and filming very technical scenes for the film etc. which were all very informative and useful on educating me about Deakins process. The source was also directly from Deakins making it a strong source to learn from and factual.
Overall Scope into Deakins Cinematography
In this interview, Deakins stated that he "loves the intimacy" when operating the camera, instead of dictating and observing. Deakins he mentioned that this is because he initially working as a DP on documentaries where he would have always operated the camera.
In this interview Deakins stated, and I quote, "I'm not comfortable working with lots of camera" and he detailed that he prefers and "likes the single camera approach.
Source usefulness - Overall I found this interview to be quite useful as it gave me an insight as to how Deakins works and his preferences on technical decisions when using the camera on a film set.
In this video, Roger Deakins narrates his techniques on lighting a scene. In this video he discusses how, and I quote,"To be able to understand light you have to understand how it makes you feel". This point is reiterated throughout the video and Deakins explains how he grasped this theory after reflecting upon his own childhood memories of fishing and how he would always appreciate and observe the way in which the natural light captured a tone e.g ominous, calm etc. This theory helped shape his understanding towards his technical craft of capturing a feeling using light.
Deakins mentioned in the video that analysing and seeing the individual and personality in paintings and still photography helped him interpret distinct ways of signifying the emotiveness in lighting and the highlighting of certain objects and people within a frame.
In the video Deakins also mentioned stated, and I quote,"the key to exposure is range". He emphasised that you have to be confident in your decision of where you place your exposure and that you should never 'be a slave' to exposure but instead learn the craft of knowing the outcome of where you place it.
Lastly, Deakins recommended that you should buy bulbs and lamps from hardware stores to experiment with the different lighting and exposures they may give off against people, objects and subjects.
Source usefulness - Overall, I found this source to be very useful as it gave me a close insight as to what ways I can advance my own personal skills in learning how to light a scene. It also taught me a lot about Deakins lighting process and the different ways in which he finds inspiration from other visual artists and their use of creating tone and emotion with light.
This academic essay describes an overview of Deakins cinematographic work, techniques and philosophy towards his craft. The essay begins by stating a handful of directors Deakins has collaborated with and simply explains that, "All these directors have different styles, yet Roger Deakins has managed to fulfil their visions. In the end, it comes down to what he does best: keeping it simple". This quote perfectly summarises Deakins work, as throughout my research I have grown to know that Deakins prefer simplicity and emotional connection over fancy camera tricks and effects.
The essay quotes from many sources, one of them discusses Deakins approach to style stating that,"Roger Deakins does not own a style, rather he alters his style to suit the project that he's on"(The Filmmakers View, 2017). Another quote in the essay which discloses Deakins overall cinematographic technique states,"Deakins bases his framing and composition on instinct, then adds on touches of lighting, mise-en-scène, and movement for artistic purposes. The essay then goes into depth describes those thee topics (lighting, mise-en-scène and camera movement).
Mise-en-scène
The author describes how Deakins creates mise-en-scène in the film 'The Reader' by stating,"Deakins depicts many of the early scenes with intimacy as audiences witness the growing love between the two characters" continuing to say "By employing a wider lens and staying closer to the subjects, the claustrophobic environment feels more intimate, as if they are sharing each others personal space. However, later in the film the framing strays away in distance and surface divisions start to appear."
The author also discusses another film example, being Blade Runner 2049 and how Deakins again uses objects to highlight characters disconnection. The author describes a particular scene in Blade Runner 2049 and states,"the steel railing and beams separating Officer K (protagonist) from a giant purple advertisement, reiterate his disconnection from the technological dystopian society he lives in". I believe the two film examples in this essay are very clear and observant examples of how Deakins creates mise-en-scène, and tie back to the films narratives nicely.
The author summarises this reflection of his technique by stating,"Deakins applies similar techniques of cinematography that enhances both narratives, proving his philosophy that visuals must aid the story, not overarch it."
The author again provides more examples, one of which is the film called Kundun (1997) which Deakins collaborated on with Martin Scorsese. The author describes Deakins mise-en-scène approach for this film by stating,"Deakins opted for rounder mise-en-scène. Viewers are meant to feel at ease and unthreatened as the story moves forward, mirroring the protagonist's arch".
The author continues his examples by quoting 'Burwell, 2017' which discusses Deakins use of mise-en-scène when collaborating with the Coen Brothers on the film Fargo. The quote states,"Deakins chose go empty dull mise-en-scène with few landscapes, in which the brothers noted became another form of stylisation itself".
The author also explains an interesting topic of geometry within Deakins work and specifically explains, and I quote,"Another technique Deakins utilises is lines. Lines indicate a direction for viewers to follow, as the human eye is naturally drawn to them." The author relates lines as roads, walls etc.
Camera movement
In the essay the author also discusses Deakins camera movement and why it is so effective. One example he gives to prove this is a scene from the film Deakins worked with Denis Villeneuve called Sicario. In this particular scene we as the audience are revealed through a birds eye view, the United Sates Border and drug cartel drawing their guns from one another, the author states how the camera,"tilts down from a crowded highway" - "makes it feel as thought its happening in real time". The author explains how in that same scene Deakins uses the camera to mimic the protagonist's mindset by as he,"thrusts the camera into her point of view as it pans left and right in a panicked state, mimicking her current mindset".
The author continues their main point about Deakins ability to use camera movement as an emotive tool and put the audience in the perspective of a character by giving another example of a different film Deakins worked on called True Grit. In this example the author describes a specific scene from the film by stating,"The slow camera track behind the back of the mans heads once again pushed the viewers into the character's perspective'. To emphasise this point, the author uses a quote from Deakins himself on his cinematography approach in films which states,"I have an overall kind of approach to cinematography that it should be as simple and submissive to the script as possible, because I think so much of it is about the relationship between the camera and actors - (The Cinematography of True Grit, 2011).
The author again gives another example of how Deakins used camera movement in the film Unbroken to to evoke emotions and character perspective. The example he uses is of the protagonist running an olympic race and winning, Deakins effectively captures this by tracking the actor and are stationed to him the whole time. The author explains how this camera movement "offers another touch of connection" - "the audience understands his elation as they followed and watched the entire time".
The next example the author gives which reveals more of Deakins clever camera movements is referencing his work on the film 1917. In this film Deakins was asked by director Sam Mendes to capture the film using the 'one shot' illusion. Th author quotes a source that explains Deakins technique of capturing this by using,"steadicams, drones, motorcycles, cranes, pick up trucks and multiple assistants to keep the camera moving, carefully stitching in places to hide editing cuts". (How the '1917' was filmed to look like one shot - Movie Insider, Youtube 2020).
The last example of Deakins camera movements in film that the author delves into is Shawshank Redemption. The author notes how in one particular scene, when the innocent protagonist has escaped prison, he extends his arms as rain pours down on him. Deakins shot this scene by "using a crane to pull up the camera in space", the essay explains that Deakins camera movement in this scene, "adds a feeling of someone answering his prayers, akin a higher being protecting him".
I personally found the author's explanation and depth of these examples incredibly well written and very informative in allowing me to breakdown and appreciate Deakins attention to detail within his camera movement, and it reminded me how important it is to evoke emotion and character's perspective through the motion of the camera. The author nicely discloses this explanation by stating that us as the audience get to "understand how highly Deakins believe in maintaining a balanced relationship".
Lighting
The author begins this part of the essay by stating a quote about Deakins saying that he,"likes images to look natural and lit by motivation". (NPR 2009). The author then gives an example of Deakins technique on lighting in a scene from the film, 'The Man Who Wasn't There'. The scene depicts a character in a suit standing alone in an all white painted execution room, the author describes Deakins symbolism and philosophy behind this scene by stating,"The pure whiteness of the room represents purgatory, and the contrasting blackness are the judgement".
The author then looks at Deakins emotive and symbolic lighting in the film Prisoners, the author discusses a particular scene when a police officer drives the main character's child to an emergency room after an encounter with her kidnapper. The author explains how,"The blue glow of the police care siren opposes the red blood on his face, exhibiting the officer's morals and duty." - "the distinguish of the two colours highlight his anguish and pain, an insight on his character". I feel this example is very effective in portraying both Deakins symbolism in his lighting, but also his detail when relating it to the character, as well as the context of the scene.
Lastly, the author concludes his essay by exampling another way in which Deakins used light effectively in a scene from the film Skyfall. The author describes how in Skyfall, "Deakins used multiple shadows and silhouettes throughout the film." The author's specific example is a scene where Bond's lover joins him in the shower, in this scene Deakins has the light,"switch from harsh to soft lighting which allows Deakins to capture a personal moment between the characters". - "chance to see the human side of Bond".
To conclude, I found the author's examples of Deakins lighting techniques on the various films very insightful and it showed me how he always approaches it through subtle details of symbolism that act as a microcosm for the character's minds and lives, which therefore proves his philosophy pours through his work, making it even more masterful.
Source usefulness - Overall I found this source to be very useful. I thought the three breakdowns of the mise-en-scène, camera movement and lighting helped me truly understand the small details and specifications on Deakins processes within various films. I also liked how it was written simply and clearly by drawing from quotes and sources as it really covered the overall scope of Deakins work. I found the scene examples tremendously useful as I was able to understand how every scene has its own symbolism and philosophy behind it, which allowed me to be more appreciative of details and I will now be more observant for them. These examples have inspired me for my project as I want to use more symbolism within the lighting of my projects, however I want it to be simple, not distracting but noticeable.
Relate Perspectives to FMP
1.2 Apply knowledge of critical perspectives to inform own practice.
Now I have learnt more about the craft of cinematography through Deakins work and his style, trademarks, lighting and framing techniques, I will be utilising this new knowledge I have gained from researching his work into my final major project. Although I do not have access to professional camera equipment and lighting, it does not prevent me from developing my skills in cinematography as I can apply the foundations and general basics/techniques I have learnt from my research into my FMP, using my iPhone (for framing), natural light from windows/exteriors and lamps.
After learning about the different effects and outcome of shooting with artificial light from my research, I have decided to experiment with using lamps and bulb types in the pre-production process of my FMP. This is in order for me to gain hands on experience and develop my skills when controlling and capturing light. Also, when I experiment with these lights/bulbs I can also see which type of artificial light I feel will best suit the tone and atmosphere of my short film.
In terms of gear, I will be purchasing an iPhone tripod to allow me to capture smoother shots and have a more stabilised camera movement/motion. This will also help me develop my framing skills as I will be able to explore new framing types with the stability that the gear provides.
I would also like to experiment with Deakins use of simplicity and character perspective. I believe that delving into his cinematography styles and testing out his techniques of detailed symbolic framing can help me grow and develop my own, in the hope that I will create an authentic and professional looking short film.
Lastly, after learning about Deakins input in post-production, I will make sure I test grain effects, colour grades and Kodak film types on the program After Effects (which I will be editing on) as it will not only help develop me as an editor, but also as a director of photography for my own final major project.
Sources - Harvard Reference
Sources (Harvard referencing)
2.1 Identify a range of relevant academic and cultural sources for a personal research project
SOURCE 1: https://www.premiumbeat.com/blog/cinematography-manual-the-ultimate-guide-to-becoming-a-director-of-photography/
Harvard Reference: Michael Maher. (2015). Cinematography Manual: The Ultimate Guide to Becoming a Director of Photography. Premium Beat
SOURCE 2: https://www.youtube.com/watch?v=hW3BwVsqqIk
Harvard Reference: Sean O'Conell. (2019). Roger Deakins and John Crowley Interview: The Goldfinch. CinemaBlend
SOURCE 3: https://www.youtube.com/watch?v=U5ZvE2-v8II
Harvard Reference: Coward Robert Ford. (2019). Roger Deakins on Blade Runner 2049, The Goldfinch and the Assassination of Jesse James. Collider Interviews
SOURCE 4: https://freshfiction.tv/interview-cinematographer-roger-deakins-captures-delicate-beauty-in-the-goldfinch/
Harvard Reference: Courtney Howard. (2019). Cinematographer Roger Deakins captures delicate beauty in 'The Goldfinch'. Fresh Fiction. TV
SOURCE 5: https://britishcinematographer.co.uk/roger-deakins-cbe-bsc-asc-the-goldfinch/
Harvard Reference: [ANONYMOUS]. (2019). Roger Deakins CBE BSC ASC / The Goldfinch. British Cinematographer
SOURCE 6: https://www.youtube.com/watch?v=Q5fmLe6kRnE&feature=emb_logo
Harvard Reference: [ANONYMOUS]. (2018). Roger Deakins on Cinematography. Maine international Film Festival
SOURCE 7: https://www.youtube.com/watch?v=K9w8I_YD29E&feature=emb_logo
Harvard Reference: Roger Deakins. (2020). Roger Deakins on 'Learning to Light' - Cinematography Techniques Ep.1. Studio Binder
SOURCE 8: https://www.skillshare.com/blog/learn/a-brief-history-of-cinematography-for-todays-creatives
Harvard Reference: Ken Korman. (2019). A Brief History of Cinematography for Today's Creatives. Skillshare
SOURCE 9: https://www.youtube.com/watch?v=Ba3Enu2l_bE
Harvard Reference: Carolyn Giardina. (2018). 'Blade Runner 2049's Roger Deakins: 'One of those things you can't say not to". Hollywood Reporter
SOURCE 10: https://www.santiniphotography.com/blog/blade-runner-2049-cinematography/
Harvard Reference: [ANONYMOUS]. (2019). Blade Runner Cinematography. Santini Photography
SOURCE 11: https://www.elon.edu/u/academics/communications/journal/wp-content/uploads/sites/153/2020/06/11-Leu.pdf
Harvard Reference: Jeff Leu.(2020). The Cinematography of Roger Deakins: How His Visual Storytelling Reflects His Philosophies. Academia edu
EVALUATION
2.2 Critically evaluate information from a range of sources to inform ideas.
Reflecting upon the various sources I chose to utilise as research, I found that the most useful one was the academic essay (source eleven). For me this essay examined Roger Deakins true scope as a cinematographer and I found the writer's dissection of Deakins mise-en-sćene, camera movement and lighting to be detailed and informative. I also thought the writer's approach to linking Deakins trademarks, similarities and skills throughout his vast filmography was effective in exploring how he consistently creates a balance of simplicity, realism and emotion through his work.
In comparison to source eleven's informative and interesting perspective on Deakins work, I found source four and nine to be very vague and poor at referencing any philosophical or technical information about Deakins work, and instead the interviewers just glazed over certain imagery in both his work on the Goldfinch and Blade Runner 2049.
Another source which I found to be effective and useful when researching Deakins work was the podcast (source six). I liked how the interviewer asked Deakins on how to light a scene and explored ways of capturing emotion by dictating and controlling light. This was informative for me because I was struggling to understand how to capture emotion using lighting, and in the podcast Deakins explained how "exposure is key", which allowed me to know that capturing a specific exposure can be vital to portraying certain emotions. I will be using this tip towards lighting my final major project. A source that was equally as informative was source five, this is because it taught me what LUTs and Master Prime lenses are. This source also educated me on Deakins preferred lenses and cameras, and also stated that he liked the more 'crisp' and 'clean' look that using digital gave him, on the film The Goldfinch.
For my historical context research I found the most useful resource was source one, this is because the article disclosed the basics of cinematography and camera setting (frame rate, dynamic settings, ISO) clearly. I also liked how the article concisely explained the role and responsibilities of a director of photography. Reading source two was also a useful and informative part of historical research because it explained the progression and evolution of cinematography, by referencing certain eras 60s/70s and auteurs that revolutionised cinematography forever (such as the film Citizen Kane, dir. Orson Welles, cinematography by Gregg Toland, as referenced in the article/source.
To conclude, my first case study into the historical context and theoretical context of cinematography has vastly developed my knowledge of the subject matter. Most of the sources I researched were helpful in allowing me to gain more understanding of the technicality of the craft and philosophical side, through the lens of Roger Deakins cinematography. I now feel more confident in understanding different lighting types, lighting techniques, framing techniques, camera movement, character perspective within the frame, digital vs film, camera lenses, gear etc. all through the research from my chosen sources.
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CASE STUDY 2
HISTORICAL CONTEXT
1.1 Critically describe a range of contextual perspectives influencing a chosen discipline in creative media production
As I previously spoke upon in the historical context of my case study one, cinematography truly began in 1895, Paris by the Lumière Brothers (Auguste and Louis). The article I have linked above describes in more depth the Lumières development in creating the first film and the manufactures behind it, which I have not yet mentioned in my research.
The article begins by stating how the first motion-picture camera and projector were called 'Cinèmatographe'. The Lumière brothers who invented Cinèmatographe based it in "part on the Kinetoscope of Thomas A. Edison in the United States". The article elaborated by saying how the "Cinèmatographe also functioned as a camera to make extra print of the film". The article also stated how the manufacturers of the photographic materials were from Lyon, France.
To expand upon the Lumières progression from Edison's Kinetoscope to the first camera and projector, the article stated how,"Lumières took the idea of a sprocket-wound film" and then were "projecting the successive frames on screen".
Lastly, the article explained how the "Lumières slowed the rate of exposure in projection from the 46 frames a second used by Edison to 16 frames, a rate still used today". This particular statement/fact proves how changing the frames per second created a shift in how people viewed images and sparked the birth of cinematography.
Source usefulness - Overall, I found this source quite useful as it covered details on the first camera and projector that I had no knowledge of and explained how the change in frame rates per second was a huge catalyst in beginning cinematography.
To delve into more of the historical origins of motion pictures, this essay explains the development of Edison's Kinetoscope and how it came to be.
In the beginning of the essay, the author explains how during the later 19th century moving images became a popular form of entertainment, an example of one is the Magic Lantern that "used glass slides with images which were projected." The author then explains how the images 'moved' by "the use of levers and other contrivances". Another example of a moving image invention during this period was the 'Zooproxiscope' created by Eadweard Muybridge in 1879. The author explains how the Zooproxiscope, "projected a series of images in successive phases of movement" - "these images were obtained through the use of multiple cameras". However, Edison's idea to create the Kinetoscope was a more practical and cost-effective concept.
The task of creating Edison's Kinetoscope was his assistant, William Kennedy Laurie Dickinson, who was asked to create it in June 1889. Dickinson was mostly likely given this task due to his background knowledge in photography. In practical reality Dickinson is credited for performing the bulk of the experiment. However, Edison came up with the concept, made the important decisions and supervised the process.
The author then expanded upon the initial experiments of the Kinetograph and stated how it was "based on Edison's conception of the photograph cylinder". The author then describes that the photograph cylinder is created from tiny photographic images that are affixed in sequence to a cylinder,"with the idea that when the cylinder was rotated, the illusion of motion would be reproduced via reflected light". However, the author stated that this was very impractical at the time.
Towards the end of the essay the author stated how "A prototype for the Kinetoscope was finally shown to a convection of National Federation of Women's Clubs on May 20th, 1891. The device was both a camera and a peep-hole viewer, and the Film used was 18mm wide". The author then concluded the essay by quoting from David Robinson who explained that the Kinetoscope was apparently completed in 1892 saying that:
It consisted of an upright wooden cabinet, 18 in. x 27 in. x 4 ft. high, with a peephole with magnifying lenses in the top...Inside the box the film, in a continuous band of approximately 50 feet, was arranged around a series of spools. A large, electrically driven sprocket wheel at the top of the box engaged corresponding sprocket holes punched in the edges of the film, which was thus drawn under the lens at a continuous rate. Beneath the film was an electric lamp, and between the lamp and the film a revolving shutter with a narrow slit. As each frame passed under the lens, the shutter permitted a flash of light so brief that the frame appeared to be frozen. This rapid series of apparently still frames appeared, thanks to the persistence of vision phenomenon, as a moving image. (From Peep Show to Palace, p. 34)
Source usefulness - Overall, I found this source to be quite useful as it gave me a deeper understanding of how the Kinetoscope was created which then develops into my previous research on how the Lumière Brothers created the first camera and projector, therefore giving me more historical context on the subject. I found the explanations in the article which stated the various technical aspects of the inventors first moving images to be incredibly informative and linked the science with the art of cinematography. I feel this source did not benefit me in terms of adding context or influence to my final major project, however it exposed me to the history and foundations of cinema which I am grateful for.
THEORETICAL CONTEXT
1.2 Apply knowledge of critical perspectives to inform own practice.
Emmanuel Lubezki
The Revenant - Cinematography
In this interview Lubezki was not present as he doesn't like to be filmed. However, the video had a collective of commentary from his fellow cinematographers in the craft on his work. Disappointingly this interview did not cover his work on the Revenant, but was useful in informing me about how other professionals in the field view his work.
In the interview a cinematographer named Salvador Totino described Lubezki's work as,"emotional photography, it comes form his soul". Roger Deakins also featured in the video and described how Lubezki's work has developed, and become almost unrecognisable from his original work stating that,"Lately he's been working on films with a particular style - moving camera hand held, very naturalistic, he tends to light soft practical sources".
Source usefulness - Overall this interview was not very useful at all, it did not disclose any informative information on Lubezki's cinematography work on The Revenant, which makes the title of the source/video very misleading. The only useful part of this source was hearing other cinematographers views upon Lubezki's style and development, although these comments were very vague and lacked as utilisable research.
In this article Emmanuel Lubezki is interviewed about his experience on filming 'The Revenant' and discusses overall technical approaches he has developed towards his craft. In the beginning of the interview Lubezki stated that,"Whenever I'm going to start a movie or buy a camera or start a project, I do lots of tests". For The Revenant, Lubezki chose to film on a Nikon D810, he explained how he came to this conclusion by stating,"After testing it to other camera I know what that camera can do for me. Lubezki then explained that he mainly chose this camera because it had the most dynamic range, stating that,"One of the most important characteristics for any equipment that I'm going to use is how well it can capture high dynamic range".
In the interview Lubezki explained how he initially wanted to film all the day scenes on film, just because of the high dynamic range, and wanted all the dusk and night scenes to be shot on digital. However, Lubezki explained how when in prep that,"every time I went back to the lab to see the results, the images I was capturing with the digital cameras were more interesting because they had less noise or no noise at all". This particular statement taught me that when shooing on film noise is more prevalent than when shooting on digital, I found this to be informative in terms of learning about the varied technicalities of cinematography.
Lubezki also mentioned how when testing on film,"the grain and texture was making the world of 'The Revenant' look more romanticised", which opposed Lubezki's want for realism for the film, rather than romanticism. In the end, Lubezki chose to shoot 'The Revenant' all on digital because after testing he liked the outcome of that camera type the best.
An interesting point the interview raised was when Lubezki shoots on film his technique is making sure it is overexposed, however when using digital he stated that he has to keep it,"underexposed". The interviewer then continued by questioning Lubezki's process stating that,"when you underexpose the shadows in the image they become really dark in the electronic viewfinders or LCD screen - the interviewer asked if using Log gamma modes help Lubezki with digital capture as he underexposes. Lubezki's replied by saying that he "uses look up tables (LUTs) that allow me to see how much information I still have in the shadows if I'm underexposed".
Lubezki also exclaimed how on filming The Revenant,"digital cameras were giving me something I could have never done with film - because of the sensitivity, because of the immediacy". Lubezki also mentioned that another benefit to working with digital was that the director could see everything on large monitors. Digital also helped Lubezki,"add one or two hours of shooting to out very short days". Lubezki also spoke upon how he wanted realism in The Revenant'a cinematography and used wide angle lenses and long takes to enhance that feeling/theme.
In the interview Lubezki was asked,"Would you ever trust a machine to auto focus?". Lubezki responded by exampling the filming process of the Revenant stating,"You know I would. But unfortunately in film, like in The Revenant, when doing a very long take I have a human doing that job - it's always going to require a human making decisions". I personally found this an interesting perspective upon the subject matter and it made me more reflective upon the technological relationships between the cinematographer and the actor.
Lubezki was also asked about his opinions on 360 degree image capture and VR (virtual reality) within future film, he replied by exclaiming that he is ,"very excited about VR" and said that,"One of the biggest issues with VR right now is actually the dynamic range of those cameras". Although this was off the topic of The Revenant, I thought it was an interesting point about the development of where cinematography can go and it was informative hearing Lubezki's opinion on the matter.
Returning back to The Revenant, Lubezki mentioned that he used Master Prime lenses when filming as they were, and I quote,"very sharp, very harsh, very clear". Lubezki also stated that he used a 14 mm wide lens and thought the subtle distortion it gave to certain shots was effective in putting the audience through the protagonist's mental anguish and pain because it mirrored that feeling. He also explained how he,"didn't want Leo (Leonardo DiCaprio, who played the protagonist) to look like a beautiful man - but wanted him to look like a trapper from 1820", and the lens distortion on close ups helped convey that wish. To truly emphasis the distortion on the lens, Lubezki explained how he used a,"diopter in front of the lens. With that you loose the depth of field and the lens is even more distorted".
Lastly, when describing the post-production part of The Revenant Lubezki stated how he was "lucky", as he got to make "a normal TV pass, an IMAX pass, a Dolby pass, a cinema pass etc. so I had all these different colour timing grades for the movie - often filmmakers only get one". This particular point was informative as I was unaware there were even different formats of colour grade types for certain image outputs.
Source usefulness - Overall, I found this source to be incredibly useful as it came from Lubezki himself, making it all the information factual and official. Also it taught me more about his cinematographic process on The Revenant, explaining the different camera tests and their output, lens types, lighting set ups etc. all of which helped educate me more on his technical process and Lubezki's general approach to cinematography.
In this article, Emmanuel Lubezki is interviewed by Ron Prince about his work on The Revenant. In the beginning of the interview, Lubezki stated that he was asked by the director, Alejandro González Iñárritu. Lubezki agreed to do the film and stated by why by saying,"I liked that Alejandro had made the story so much more complex than a straight revenge movie, and that it's also about survival".
Lubezki also spoke about the pre-production process of The Revenant and how he and the director wanted to make the film in the wild explaining, and I quote,"with no stages or blue-screen, no Burbank methodology. We wanted a strong, visceral, immersive and naturalistic experience for the audience."He continued by saying,"we were also determined to shoot the film in order, which we did".
The interviewer then proceed on and asked Lubezki if he had any film references or inspiration in mind when making The Revenant. He responded by explaining,"For the last five or six productions I have shot, I have not watched any movies as references. I find that if you want to create an original look and feel, you need to get deep into the world of your own movies and keep focused on that". Lubezki added to the statement by saying,"Watching the light, the weather conditions and the moods at our locations was far more important than watching movie references". I found this very interesting and quite a unique approach towards filming a project, as I have never thought of eliminating references for visuals before and it has made me want to experiment with this technique in future projects.
However, Lubezki did mentioned that he and the director were inspired by the composer John Luther Adams because of his natural and organic style. Lubezki stated that they,"listened to a lot of his music for the days, weeks that we were on recess in the cold".
In the interview Lubezki's evoked his opinion on using film when testing the cameras, he described the grain from shooting on film like,"putting a veil between you and the subject". Lubezki preferred and chose digital for this film as it gave off no grain. Lubezki shot on the digital cameras, ARRI Alexa M, ARRI Alexa XT and ARRRI Alexa 65. To summarise, Lubezki explained how using these digital cameras "we discovered there was a mystery and intrigue in the tone and mood, to image shot at different times of the day, that just did not appear on film".
The interviewer then asked Lubezki about his stylised camera movement in the film and he explained how,"on The Revenant I moved camera handheld for almost every shot, then we went from there - perhaps a third of the movie was steadicam/handheld and the rest on a crane or dolly".
The interviewer then asked Lubezki about his lighting process on The Revenant and he stated that,"We used natural light for the vast majority of the movie, and the colour palette was determined by the time of day at each location - As we were working with natural light, it was important to have a wardrobe that was homogenise and not lighter in tine then the actor's face."
The interviewer then asked Lubezki on working with on the film's DI (digital intermediate) in post-production, Lubezki stated that for DI he worked with Steve Scott at Technicolour. Lubezki then explained more about the process saying, "because we shot in natural light and had little control on set, I know exactly what I wanted to do in the DI - to darken backgrounds, lighten faces, change the sky". I found this to be very informative as it helped me understand more about what happens in the DI process, educating me on one of the technical parts of post-production.
Lubezki also told the interviewer that they had to create four deliverables (finished product). He explained how it took him eight weeks to create the four deliverables, which he stated were "a normal DCP (Dolby Laser Projector), normal IMAX and laser IMAX".
To conclude the interview, Lubezki credited and thanked his collaborators on The Revenant film. He stated five crew members who he felt that without them, it wouldn't have been possible to have shot the film successfully they way they did.
- Key grip: Roy Garcia
- Camera Assistant: John Connor
- Steadicam: Scott Scott Sakamoto
- Dolly grip: Ryan Monro
- DIT: Arthur To
Source usefulness - Overall, I found this source to be incredibly useful as it came directly from Lubezki himself and covers all the laborious aspects of his filmmaking process, such as testing camera types, camera movement, lighting set ups, working on DI and the deliverables. All of which cover Lubezki's experience through out pre-production, production and post. This article/interview taught me what a deliverable is and clarified the difference between working on film and digital, explaining the pros and cons of both.
The Tree of Life - Cinematography
In the beginning of the article/interview, Lubezki describes working with the director of The Tree of Life (Terrence Malik) as,"difficult", - explains how,"Sometimes it seems like he (Malik) is almost trying to create a mistake, to take the actors and the camera to a place where they are going to crash. And those little accidents, those little moments, that are in the film and look naturalistic. Those are the truly visually expressive moments".
Lubezki explained the lighting process on this film and stated that,"We used real light, and the sun, wind and rain and other elements that come our way became part of the story". He also stated that The Tree of Life was shot on 65mm, 35mm film and IMAX. Lubezki used an ARRI LT, 235 cameras and Panavision camera for the 65mm scenes. He also used ARRI Master Prime Lenses and film stock Kodak Vision 2 500T 5218 and 200T 5217. Lubezki also operated the camera/handheld material mostly himself.
The final aspect ratio for The Tree of Life was 1.85:1 and Lubezki explained how he shot on spherical. As the film was shot only using natural light (besides one scene where a HMI light was used to "create sufficient ambient exposure", inside a church) instead of readapting the light they would rewrite and reassemble scenes to ensure they captured the quality of natural light they wanted for that scene. Lubezki described how to make the natural light more exposed in the main house (in the film), the production designer Jack Fisk "added some windows in key places that became the main source of light".
Lubezki also mentioned how he worked closely alongside a frequent collaborator of his, Jörg Widmer on The Tree of Life and Widmer operated camera B when Lubezki was shooting the handheld scenes. Lubezki stated,"In these unlit situations, I can give him my remote iris control, and he exposes the shots for me as I operate".
For the post production of The Tree of life it was handled at LaserPacific and Efilm in Los Angeles. the theatre cut was released in full 4K DI path. Lubezki stated that the "DI was very simple" and when editing there was "no secondary colour correction".
Source usefulness - Overall, I found this source to be very useful, this is because it clarified in detail how the director collaborates with Lubezki, what cameras Lubezki chose to shoot the film on, his lighting processes and lastly the post production process. All of these elements gave me an in-depth coverage of Lubezki's filmmaking process on the film and taught me more about the varied techniques filmmakers adapt to when dealing with lighting/filming issues.
In this article Lubezki was briefly interviewed on his cinematography process for The Tree of Life. In the beginning of the interview it is mentioned (as I have already stated from the previous article) that Lubezki shot only using natural light in this film (besides one shot using HMI). The article quoted Lubezki stating how he,"appreciates the complexity of natural light" and that he finds it"very hard to go back to artificial light in the same movie". The article suggested certain parameters Lubezki would have faced on set, these were collected through interviews of Lubezki and other team members of the filming crew. The suggested parameters are shown below as an image from the article:
Lubezki himself explained how,
"Our dogma is full of contradictions! For example, if you use backlight, you will get flares, or if you go for a deep stop, you will have more grain because you need a faster stock. So you have to make these decisions not he spot".
The article also mentioned the types of film Lubezki shot on for The Tree of Life (although I have already mentioned this in the previous article, this one goes into more depth about the types he used stating how,"Lubezki shot The Tree of Life with two tungsten-balanced Kodak Vision 2 Negatives, 500T 5218 and 200T 5217, going for the faster stock when light was low. He did not use an 85 filter because it 'homogenises' the complex colour. Instead he prefers to colour balance in the timing". The article also explained Lubezki's decision for filming on anamorphic, quoting Lubezki saying,"Even though anamorphic has more resolution, we decided on 1.85 because the close focus was going to be extreme".
Lastly, the article concluded by stating that the principle photography ran for 12 weeks and credited the following camera crew on set for the film:
First AC - Erik Brown
Underwater footage - shot by Peter Romano ASC
Second Unit Photography - done by Paul Atkins and Pete Simonite
Additional Photography by:
Ellen Kuras ASC - New York
Benoît Delhomme AFC - Versailles
Jörg Widmet - Italy
Source usefulness - Overall, I found this source quite useful however it did repeat a lot of information I found out previously from researching other articles/interviews. However, it did go into more detail about the camera crew members/their roles and the technicality of shooting of film, such as using a different type of film stock due to lighting/grain changes, which was all helpful in expanding my knowledge on there process of shooting on film.
This video featured interviews of crew members (including Emmanuel Lubezki) on the filming process of The Tree of Life. The opening of the video had an audible clip of Lubezki describing how he believes people should "make a lot of mistakes, be on the edge of collapse" when filming. He also explained how on the set of The Tree of Life, "everything was meticulously prepared" - "but we are (were) trying to shoot stuff that you cannot set up".
The production designer (Jack Fisk) on The Tree of Life featured in the video and described the importance of capturing the natural lighting in the main house shown in the film, explaining how,"Windows became very important and colours became very important. We experimented with the dining room and how dark to make the walls". He also explained how this decision created a "beautiful effect of skin next to a dark wall". The video also explained how on set they had three separate houses to act as the different 'rooms' in the main house. This was due to the need of natural light at certain points of the day.
Concluding and returning to Lubezki's opinion on using natural light in the film, he explained in the video how "when you put someone in front of a window you're getting a reflection from the blue sky and the clouds and the sun bouncing, all the colours from different angles." he then explained how if you put a HMI and diffusion (artificial lights) it "reduces that to a very narrow spectrum of colour and it feels different".
Source usefulness - Overall, I found this source not very useful, it disclosed vague points and was poorly structured in terms of explaining the lighting process. I liked that it included other crew members and their input towards shooting the film, however I felt it generally lacked informative and detailed points about the filmmaking and technical process. I also struggled because some clips were only in Spanish and I wasn't able to put on English subtitles which limited me from understand all the context in the video.
Overall Scope into Lubezki's Cinematography
In this video essay, the author/narrator dissects Emmanuel Lubezki's cinematography style into two main parts, philosophy and gear. The narrator begins by describing how Lubezki's goal with his cinematography style is "total immersion", explaining how,"This idea forms the basis for his look that favours a well exposed image with true blacks and shadows and maximum resolution". The narrator then continues to state how Lubezki likes,"maximise dynamic range creating images that closely replicate the experience of real-life, images that try match what we see in the human eye". I as the viewer/listener agreed with the narrators statement, particularly after researching into Lubezki's approach because it becomes very evident he is set on immersing the audience in a naturalistic environment.
The narrator in the video essay quoted from Lubezki himself on his lighting technique stating how,"The most important rule for me is I don't want to underexpose". The narrator elaborated on this quote by explaining how Lubezki uses minimals touches of light and never over-lights. When describing Lubezki's lighting process for exteriors, the narrator explained how,"Firstly, Lubezki scouts locations to know how the light falls and how it changes throughout the day. Then he will work carefully on scheduling the exterior scene so that it can be shot right at the right time".
The narrator then moved on from Lubezki's philosophy and into the gear types he uses. The narrator stated how when shooting on film Lubezki uses Fine Film Grain Stocks and 4 Perf (perforation). The narrator then explained that perforations are the equivalent to how we measure pixels in digital. When using 35mm film, the narrator stated that with this film type you can only have 2-perf, 3-perf, 4-perf. The narrator then continued by explaining how Lubezki favours 4-perf because it has less grain, creates a clean image and has maximum resolution.
In terms of Lubezki's camera movement the narrator explained how Lubezki likes "moving through large areas or space, sometimes in long takes, minimising the amount of light on set by using as much practical and natural light as possible". The narrator continued by stating that the long takes "create an illusion of reality" - "building feeling of riveting real life suspense".
The narrator then discussed Lubezki's lenses preferences and stated how,"For many years he (Lubezki) shot almost everything exclusively on the same lenses, Size Matter Primes or at times the older Ultra Primes." Lubezki liked these lenses as they produce super clean, sharp, minimal distortion, minimal abbreviations. The narrator then mentioned how "in recent years Lubezki has begun to favour wide lenses, especially the 14mm, 18mm, 21mm and 27mm Master Primes" - "shooting here lenses at a deeper stop, such as T/5.6 as opposed to wide open at T/1.3 helps to preserve the sharpness and clarity of the image". The narrator explained how to obtain this same clarity and sharpness Lubezki doesn't use filters apart from DN Filter (Neutral Density Filter) or a Polariser Filter for exteriors.
Although Lubezki prefers to use natural light he does use artificial light too. The narrator stated how "when shooting exteriors he'll (Lubezki) utilises white bounce to add light or black negative fill to subtract light"-"when using lighting textures he likes to soften the light by putting larger sources through a soft box, textile or layer of diffusion". The narrator concluded the essay by explained how Lubezki likes to"backlight with a key or primary light source coming from behind the character". The narrator also used a quote from Lubezki which mentioned how he likes to "use a backlight because it gives a sense of depth whereas a front light is flat".
Source usefulness - Overall, I found this source to be very useful, I agreed with all the subjective point made on Lubezki's camera style, lighting and the narrator's interpretation of Lubezki's general philosophy. I also found it to be very informative as it taught me lots more about gear and the shooting on film e.g understanding what a perforation is and how it relates to the visual outcome of an image. I also learnt what a white bounce and negative fill our which is helpful in allowing me to understand basic lighting equipment.
In this article, the writer/author explains why he believes Emmanuel Lubezki's cinematography style is so unique, effective and successful, but more importantly the article breaks down the author's reasoning by reflecting upon Lubezki's work.
The article begins by explaining how Lubezki's "use of natural lighting, framing, long takes, motion and film language" are his cinematographic trademarks. The author also states how Lubezki "uses the space around him and how it's affected by the light".
The article then continues to expand upon these points and firstly mentions how when Lubezki is framing he takes on a "very documentary style approach". I agree with this statement as Lubezki's use of high dynamic range and handheld camerawork create lots of realism as fit you are experiencing the same tension and atmosphere created in a documentary. The author then explains how he feels Lubezki's documentary style "could be correlated to the idea of natural space and natural setting".
The author then uses a direct quote from Lubezki on his framing style which states,"act like a documentary filmmaker and come onto the locations and capture these ideas we've been talking about". I found this quote to be very inspiring as I had never viewed fictional filmmaking through this philosophy before and believe it is a unique, raw and human' way to approach cinematography, which is why I believe Lubezki is so successful at his craft, he sees it through a naturalistic lens. The author then continues and briefly mentions Lubezki's shot duration and movement within his work, he summarises it well by stating how "It's not just about long takes...it's about the motion during that take".
Lastly, the article concludes by stating that Emmanuel Lubezki's cinematography style is "allowing the imagery to guide the audience". I agree with this statement and truly believe it summaries Lubezki's cinematographic style simply but clearly.
Source usefulness - Overall, I found this source to be quite useful as it spoke upon Lubezki's framing approach of creating a documentary feel which I thought was interesting, inspiring and informative. I also liked the points and statements the author gave about Lubezki's work and feel he gave a clear and precise 360 view of Lubezki's cinematography style.
RELATE PERSPECTIVES TO FMP
1.2 Apply knowledge of critical perspectives to inform own practice.
Now I have learnt more about Lubezki's cinematography approach towards lighting, framing, camera movement and philosophy, I will try to add elements of his style into the visuals of my final major project, in order for more to utilise my research as much as possible and develop my cinematography approach by trying out new techniques.
After learning about Lubezki's use of natural lighting within his films, I would like to try to experiment/test filming with natural light, as well as artificial in the pre-production of my film. This will help me see which one I believe will work best at capturing the 'feel' of my short film and can allow me to develop my lighting skills when working with natural light.
One of the techniques I will utilise from my research is Emmanuel Lubezki's lighting schedules. In pre-production I will make sure that the setting/locations of my short film will have hourly lighting phases timed on a schedule, in order for me to list when the right amount of natural light comes through for that location. This will improve my organisational skills when shooting and can help me be more precise and technical in my cinematographic approach.
I am sadly unable to test camera types and choose between shooting my FMP on digital or film due to restrictions of COVID-19. However, I am able to choose between filming apps on my iPhone which can allow me to add a filter or grain and change the aperture, white balance and depth of field. Using one of these filming apps it can allow me to develop my skills in cinematography as the control settings mimic that of a digital camera.
In terms of gear, I will be purchasing an iPhone grip to allow me to capture fluid shots and improve upon my movement using the camera. Purchasing this gear will also help me develop my framing skills as I will be able to explore more motioned and experimental shots for my short film.
I would also like to experiment with Lubezki's fluidity in his camera movement and natural lighting/dark shadows. I believe that delving into his cinematography style and exploring his trademark techniques of naturalism within imagery, can help me develop my cinematography skills tremendously by challenging me to strip back film through a more organic lens and have less of a 'visually' traditional perspective. Although I will not solely base my cinematography style from Lubezki's work, I will use it as influence to help me experiment new framing and lighting styles.
Lastly, in terms of post-production I will explore different outputs and effects, such as adding a sharpener effect to increase the dynamic range and test natural filters (all of which mimic Lubezki's stripped back visual style). I will do this to help me utilise my research of Lubezki's work and also allow myself to explore new ways of approaching a naturalistic tone.
Sources - Harvard reference
2.1 Identify a range of relevant academic and cultural sources for a personal research project
Harvard Reference: [ANONYMOUS]. (2016). 'The Revenant' Cinematography Emmanuel "Chivo" Lubezki - Variety Artisan. Variety
SOURCE 2: https://www.dpreview.com/interviews/4663212665/interview-with-three-time-oscar-winning-cinematographer-emmanuel-lubezki
Harvard Reference: Dale Baskin, Rishi Sanyal. (2016). Emmanuel Lubezki: 'Digital gave me something I could never have done with film'. DP Review
SOURCE 3: https://britishcinematographer.co.uk/emmanuel-lubezki-amc-asc-the-revenant/
Harvard Reference: Ron Prince. (2016). Emmanuel Lubezki AMC ASC / The Revenant - British Cinematography. British Cinematography
SOURCE 4: https://britishcinematographer.co.uk/emmanuel-lubezki-amc-asc-the-tree-of-life/
Harvard Reference: [ANONYMOUS]. (2011). The Meaning of Life Emmanuel Lubezki AMC, ASC/ The Tree of Life. British Cinematographer
SOURCE 5: https://www.youtube.com/watch?v=d0DeYn3KyfM
Harvard Reference: [ANONYMOUS]. (2020). Cinematography style of Emmanuel Lubezki. In Depth Cine
SOURCE 6: https://theasc.com/ac_magazine/August2011/TheTreeofLife/page1.html#
Harvard Reference: Benjamin B. (2011). Emmanuel Lubezki, AS, AMC, created emotionally resonant imagery for Terrence Malick's The Tree of Life. The American Society of Cinematography
SOURCE 7: https://www.youtube.com/watch?v=8jKlHe-p5cI&t=40s
Harvard Reference: [ANONYMOUS]. (2021). The Tree of Life Cinematography - Emmanuel Lubezki: Finding Beauty Through Patience. Cinema Labyrinthine
Harvard Reference: Jonathon Paul. (2015). The Amazing Cinematography of Emmanuel Lubezki. Premium Beat
Harvard Reference: Gloria Lotha, Grace Young. (2017). Cinèmatographe, film technology. Britannica
Harvard Reference: [ANONYMOUS]. (N/A). Inventing Entertainment: The Early Motion Pictures and Sound Recordings of Edison Companies - Origins of Motion Pictures. Library of Congress
EVALUATION
2.2 Critically evaluate information from a range of sources to inform ideas.
After you’ve read a range of sources comment on how useful they are, try and synthesise - compare, contrast, bring them together and feel free to disagree with them (again, use quote marks to show when you’re taking someone else’s text)
Reflecting upon the variety of sources I used as research for the theoretical context, I found source one the least useful as it was misleading in its title because the interview itself gave very little context or closure on the subject matter (being Lubezki's work on The Revenant) and instead it was a collection of interviews from other cinematographers being asked about Lubezki's work, making it a very poor research source when looking into Emmanuel Lubezki's approach to filming The Revenant.
In comparison to source one, a research form that was incredibly useful was source three. I found this article/interview to be very informative as it came from Lubezki's himself, making it a reliable and factual source, it also disclosed in-depth information on the camera types, lens types, lighting set ups, DI etc. that Lubezki used on The Revenant. In the article Lubezki also explained his reasonings behind the creative process, such as choosing to use only natural light to capture more realism, choosing to shoot on digital as it was clean and crisp in its dynamic range and using a wide lens to capture more expanse of the scenery etc. all of which gave me a more philosophical and technical understanding of Lubezki's approach to filming The Revenant.
Another source which was very useful when researching Lubezki's overall scope as a cinematographer was source five (video essay). This video was a detailed analysis of Lubezki's cinematographic style, trademarks and philosophy. I liked this essay because I agreed with all the points it spoke upon, such as when he states how Lubezki maximises "dynamic range creating images that closely replicate the experience of real-life, images that try match what we see in the human eye" and how Lubezki's documentary style creates, "an illusion of reality", all of which I found to be very true when reflecting upon Lubezki's naturalistic approach to cinematography.
Reflecting upon my historical context research for this case study, I found the article and essay sources to be quite usual as they covered detailed information on inventors during the late 19th century who vastly impacted the progression of the first camera, projector and the birth of cinematography. I found both these sources very interesting and informative as I had little knowledge prior to researching the development of how motion pictures were originally made. I also thought it was interesting how the essay explained how Edison's idea for the Kinetoscope was actually created by his assist William Kennedy Laurie Dickinson.
To conclude, I feel the collection of sources I utilised as research for this case study were incredibly helpful towards my understanding and knowledge of the historical background of cinematography. I also believe these sources allowed me to truly delve into Emmanuel Lubezki's work and learn from his style, techniques, camera types, camera movements, lighting etc. which vastly taught me more about taking on unique approaches and philosophical ideas towards the art of cinematography.
MY FMP IDEAS
Presentation of ideas
3.1 Apply academic conventions in the production and presentation of ideas.
3.2 Effectively communicate ideas in appropriate formats.
My FMP idea is to create a short film that encompasses the themes of loss, grief and reflection. I envision my film to be through the perspective of a female protagonist as she writes a letter/note to her deceased mother in order to vent her grief and hopefully gain closure. The film would not physically show the characters, however it would be audible and the protagonist would read the letter throughout the film in a voiceover. I am going to shoot this film on an iPhone and will purchase a phone tripod to allow me to develop my skills in terms of using filming gear and also have more flexibility in the stability and shots types I want to capture, using this equipment.
One of the ways in which my research on cinematography has benefitted me is allowing me to understand the importance of lighting and the ways in which both artificial and natural lighting add different tones and effects to a scene. A key quote which references capturing naturalism light from Roger Deakins was to make it look,"as authentic and possible". This was a useful point when thinking about naturalism lighting as it reminded me to make sure the light source is realistic in its effect and outcome in the scene. It was also relevant because I am able to use artificial light in my short film, therefore allowing me to ensure the light sources I use depict a realistic reflection against subjects etc.
My research has vastly benefitted me when experimenting with lighting types too as in an interview with Roger Deakins he stated how aspiring cinematographers should study photographs to draw lighting influence from and also experiment with bulbs from lamps etc. to gain a hands on understanding of how to light a scene. This statement was relevant because it taught me that for my FMP I should test various artificial light sources using different bulbs and lamps and look at photographers I admire in order to expand upon my lighting techniques for my FMP.
I also will not only be following the research advice I gained from Roger Deakins cinematography style, but also from Emmanuel Lubezki. One of the ways in which researching his lighting and camera techniques will benefit my FMP is learning how to utilise natural light and ensuring that I scout my locations, focusing heavily on how the natural light sets in those areas, as it will effect the outcome of my film both visually but also philosophically as lighting plays a huge part in the emotional tones conveyed in the scene/setting.
A way in which my historical context research taught me more about cinematography that can benefit the outcome of my FMP is understanding the 'three point lighting' structure. This was useful to understand and know as I can utilise it in my own short film for my FMP by experimenting with the positions of where I place my light sources and analysing their outcome.
For my FMP I will be following the genres of drama and experimental but developing them by focusing on the way in which the visuals in my short film can capture the dark and naturalistic tones which are convectional in both these genres. As my short film will be visual based, I am going to heavily focus on the framing types, lighting and movement, analysing the various ways I can convey these genres. One of the ways in which researching Emmanuel Lubezki's cinematography style has helped me understand how to capture more of the experimental genre in film is by being spontaneous with footage and allowing for the emotions and the natural atmosphere in the scene and setting guide me through the film, instead of sticking directly to the script, allowing for spontaneity.
The main thing that interests me when reflecting upon my FMP ideas is wanting to ensure I invest in filming gear and form a more technical and sophisticated production, this is because my film will not be featuring actors and it eliminates the possibility of directing them, therefore the practical process of filming is my priority. This relates to my cinematography research perfectly as I will be utilising and experimenting with new techniques, advice and experience I have gained from researching both Deakins and Lubezki's work.
For instance, when I researched and found out that there are grips and tripods for iPhones, it expanded my options in terms of production as I would be able to solely purchase filming gear. Again, linking back to my research, in the video essay source which analysed Deakins cinematography style, the author explained how Deakins likes to have stable shots and uses a tripod frequently. Whereas when researching into Lubezki's work I found that it he is quite the opposite in style and prefers a more hand held technique. By understanding these two opposing styles it has given me a broader perceptive upon how I can shoot my own short film for my FMP, as I know that having the option of a grip and tripod can vastly impact the visual storytelling of my film, helping me convey my style and tone the way that feels most natural to me as the cinematographer, whilst also drawing from both Deakins and Lubezki and influences.
To conclude, my research will be highly useful because it can act as both a guidance in terms of understanding the basics of cinematography and how I can apply my new knowledge of camera settings and both their technical and philosophical effects to my FMP. My research will also be useful as I can utilise the in-depth advice/analysis on framing, lighting and camera movement within a scene by reflecting upon Deakins and Lubezki's approach towards certain films and capturing emotion/tone. I can also use my research as a way for me to grasp the naturalistic and stripped back style that I want to achieve in my FMP, by testing and experimenting with the camera and lighting techniques that both Deakins and Lubezki capture in each of their films.
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