As a cinematographer, command of the technology you’re using must be such that it allows you to toss it aside, to essentially forget about it.  Only then will you be able to embrace every possibility the medium offers.             Think about it…  If you have a great idea for a painting but don’t know … Continue reading “STUDENT QUICK TIP #5”

            I had the good fortune to work on The Flamingo Kid as an additional assistant cameraman and – as usual – took detailed notes of most every camera and lighting set-up I encountered.  A recent rummage through an old filing cabinet revealed an unexpected trove of diagrams and information, the benefits of which you’ll … Continue reading “LIGHTING DIAGRAM #71 – THE FLAMINGO KID (1984)”

Be sure to see last Tuesday’s posts for the first five points I addressed! 6. The speed of your lenses… Obviously, using a T4 zoom will influence the way you light in a way quite different from a T1 prime! 7. The amount of control you have over image post-processing… The tools that available to … Continue reading “FACTORS THAT WILL INFLUENCE HOW YOU LIGHT, PART 2”

            Night\Exterior in a grungy alley…the aftermath at a crime scene.  Steadicam 101 – a medium-shot-easy-pull-back with walking, talking actors.             This scene plays in a more expansive way than it appeared in reality; the effect of the police lights in the background combined with the sparse additional light imply something more going on just … Continue reading “LIGHTING DIAGRAM #70 – SWAT”

            When we think about our work we tend to visit an imaginary land where  conditions are perfect, we get to do things exactly as we want and our every whim is met with instant gratification.  Since that never happens in reality, I thought it would be smart to briefly dissect the factors that influence … Continue reading “FACTORS THAT WILL INFLUENCE HOW YOU LIGHT, PART 1”

            Heightened reality on stage, LED’s and a cheat that almost worked in a single take…             First and foremost, hats off to my good friend and colleague Lowell Peterson, ASC for inviting me to shoot several episodes of his show.  He did a magnificent job over five seasons and I was very happy to … Continue reading “LIGHTING DIAGRAM #69 – JANE THE VIRGIN”

            Camerimage – the International Film Festival of the Art of Cinematography – is taking place right now in Toruń, Poland.  As the world’s premier celebration of who we are and what we do, it’s also the first and most prestigious event of its kind.             The idea originated in 1992 with Festival Director – … Continue reading “CAMERIMAGE”

            Timothy Olyphant’s U.S. Marshal Raylan Givens mixes it up with Michael Rappaport and his roster of fellow baddies…             This short clip of a much longer scene illustrates how easy it can be to turn relatively static – and easily boring – shots into something interesting.             The lighting of this set couldn’t be … Continue reading “LIGHTING DIAGRAM #68 – JUSTIFIED”

            The ASC’s Motion Imaging Technology Council – MITC (pronounced my-tech) and formerly known as the ASC Technology Committee – is made up of some of the best creative and technical minds in the business.  It’s amazing how far it has come since its inception back in 2003.  A large part of the success is … Continue reading “MITC”

            After hours in villain Boyd Crowder’s (Walton Goggins) hillbilly bar\criminal lair…  He slugs back some booze with his henchmen while awaiting an important phone call.             Low-key, mysterious, moody…and with a neat shot from a corner of the pool table that helps bring the scene to a satisfying close.  In general, I like it.  … Continue reading “LIGHTING DIAGRAM #67 – JUSTIFIED”