![]() The 35mm advocates would argue that the digital cameras, while they are improving every year, they still don’t beat the quality of the image you can achieve on 35.įrankly, I totally disagree. I think this argument is a little irrelevant actually. It’s the framing, the way you move the camera, the choice of shot, the lighting within the scene. It’s the image you’re recording that’s important. ![]() When it comes down to it, it doesn’t matter what you record the image on. What’s going to be lost forever with your generation is people who know how to process 35. Most people now, even those who shoot in 35, they finish the movie digitally. I say that but I’ve shot film, obviously, for many, many years and I love the process. There are lots of advantages in the shooting as far as I’m concerned, in terms of the flexibilities of digital technology as opposed to film. We don’t have that week of processing the negative and getting the dailies in return. So the biggest advantage for us here is that we know what we’ve got. The first one is that now there’s no film lab in Australia or New Zealand, so if we were to process film we’d have to send it to LA or London. There are so many advantages to digital capture. ![]() It was a bit of a struggle, but that’s what we did. Digital finishing was starting, people had been using digital technology to do effects work and we thought, “Why not try and do the whole film like that?” We made some tests and figured that by the time we finished shooting and were in post-production that the technology would be advanced enough that we could do it. We also wanted a kind of feeling of a painted postcard, and we experimented for quite a long time. We were shooting in Mississippi in mid-summer and the Coens and I wanted a dry, dusty look but obviously, it was a very lush environment. O f the Coens’ films you’ve shot I’m particularly fond of “O Brother, Where Art Thou?” You were innovating something that hadn’t been done before in terms of the digital master. He is best known for his work on the films of the Coen brothers, Sam Mendes, and Denis Villeneuve.‘Drive-Away Dolls’ Trailer: Margaret Qualley and Geraldine Viswanathan Go on the Run in Ethan Coen’s Road Trip Comedy Roger Deakins is a British cinematographer and member of both the American and British Society of Cinematographers. They also produce plenty of interviews with inspiring people from the movie industry like this one with Roger Deakins. They measure the percentage of positive reviews from movie critics and publications and deliver movie ratings based on those. Rotten Tomatoes publishes lots of interesting information on their website and their Youtube channel. Let’s take a short look at what he has to say. Youtube channel Rotten Tomatoes published a video about Deakins’ impressive career. He has over 30 years of experience working with directors like the Coen brothers, Sam Mendes, and Denis Villeneuve. Roger Deakins is a British cinematographer who worked as a DP on films like Shawshank Redemption, Skyfall, Sicario, Fargo, Blade Runner 2049 (which got him an Oscar for best cinematography in 2018), and recently on 1917.
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