deakins is the master. he manages to make things look ethereal and completely natural at the same time. difficult to choose a favourite but deakins and villenueve are a match made in heaven
'A Serious Man' sowed interesting in operator work for me. It was the film that just clicked in my head and made me google who was responsible for camera work.
Excellent commentary and very informative. As a visual effects artist on over 40 feature films and 20+ episodics, I know all too well about working with film. Shooting with digital cameras isn’t lazy so much as it is economical. I worked on “Idiocrisy”. Much of the work I did was cleaning up footage that had been damaged in the process of transferring the film to digital for vfx. One scene that took place in a bedroom the film was damaged dramatically when it was in the lab being scanned to transfer to digital. The scratches were so extreme that it looked like it was pouring rain in the room. It took hours on one shot to paint out the scratches. And there no visual effects for that scene. I’ll gladly watch hours covering Roger Deakins work. There is so much to learn from his approach and techniques.
Thanks! Exactly, some films simply don't have the budget for them, or would rather use those funds for other aspects of the production. Great movie, ah right, that must have taken quite a bit of time! Same, he actually just did a talk with Dick Pope all about his new book. It's pretty much an hour and a half of two incredible dp's talking about what they love, and his photos. It should be uploaded somewhere soon!
Excellent inheritor of Every Frame is Painting. My personal favourite is how you refer original facts like used cameras and shooting plans. Your channel defiantly needs more attention, can't believe there are only few thousands of subscribers.
I don' t think I could ever fill their shoes, but thanks so much for the compliment! I try to only make my videos surrounding the facts of how a cinematographer or director shot a film, and when I occasionally go in depth into my own theories of why they did what they did, I make sure to say. I want these to be as factual and educational as possible, but at the same time, entertaining (hopefully). Maybe one day!
I LOVE the way this film was shot and thank you 🙏🏻 for breaking it down. Warm interiors Cold exteriors Arri Alexa Plus and Studio Zeiss Master Primes And the breakdown of the Thanksgiving dinner interior was 🤌🏻
Awesome work man, would love a whole Deakins series with each film analyzed or a deep dive on some scenes. I'd love to learn more about how he does silhouettes, and if there are some lower cost ways of replicating them for us lower budget film makers.
Thanks! I’m working on it, Right now I’m doing one video on Deakins then one on another DP. I’ve been considering doing a couple of videos surrounding me shooting films/docs as well, and as long as it’s right for the story, using Deakins techniques, such as cove lighting. I really need to look into how he uses silhouettes as well!
Absolutely lovely analysis. Need alot of more analysis like this on Roger Deakins other works, Jeff Cronenweth, Greig Fraser (DP) and David Fincher and Denis Villenueve.
Glad you liked it! I have several videos surrounding Roger Deakins and Jeff Cronenweth’s cinematography coming up! I’ll be sure to add Greig Fraser though. I’ve got a couple of other Fincher films on there, but the ones shot by Cronenweth are top priority (closely followed by Mank)
@@AngusDaviesDP one thing i would suggest is to add more of BTS photos/videos to show how some interesting scenes were shot and explaining more of technical stuff like what they used and why
Will do! I always try and download a ton of BTS, but I just never end up using them in the video. I'll make sure to include loads in Wednesday's video!
Please could you do a video on Dean Cundey? he shot films like Escape from new york, Halloween and The Thing? there,s not enough info about his style and process
I was lucky enough to see this originally in theaters not knowing who the heck Denis Villenueve even was at the time and was so surprised and satisfied when I walked out of the theater. I agree the lighting, and style kept it grounded all the way through and could have easily gone into the realm of gothic/sacrificial/spiritual tones with the color and set choices. This is a gem and I hope we can get something original and smaller scale like this again in the future from Denis and Deakins. Hopefully after Dune, we can see some more passion projects that are not as grand.
Thanks, glad you liked it! Ah my bad, On his website he used both so I added the text at 3:51, but completely forgot at 4:43 Thanks for pointing it out!
Not tryna pull a “Gotcha” cause I love these videos but I think there’s a mistake around the 4:23 mark. The diagram shows 1/4 and 1/2 CTO (Color Temperature Orange) but your narration says CTB (Color Temperature Blue). Anyway, thank you again for making these videos! They’re hugely helpful!
I'd love to see you cover the Ocean's Trilogy and how each film differs. Ocean's 12 always gets a bad rap, but I don't think people realize just how heavily influenced it is by French Wave cinema
What a brilliant idea! I love all of the Ocean Films, as whilst 2 & 3 don't come anywhere near 1's level of plot, they are still extremely fun watches. I'll definitely be making a video surrounding them in the next couple of months!
Thanks! You and me both! I can't wait to finally watch it and eventually break down the cinematography. Let's hope we get a blu-ray release rather quickly!
Truly excellent videos you share! I would like to hear your take on the BBC show, Normal People. The cinematography and the emotion of the series work quite well together.
“There’s still people who think shooting on digital is lazy”, yeah, people who heard Tarantino say film was the better option and took it as gospel. Tarantino is phenomenal, but film is just what he’s comfortable with and he now has budgets that allow for him to use it and get good quality out of it. Deakins, despite his age, isn’t afraid to get uncomfortable, move and adapt with the times, and if that person thinks that Blade Runner 2049 looks “lazy”, that just tells you what you need to know about them.
I love Tarantino, but I just can't get behind him on that take. Especially when there are countless cinematographers who can create just as good a look if not better with digital, and if you even look at why certain DP's choose digital, it's a storytelling choice not a practical one. It was even the case for Deakins with In Time.
@@AngusDaviesDP I have nothing but respect and admiration for the man myself, but his rhetoric is just a byproduct of his time. He grew up with it, is comfortable with it and to him, it’s sacred, and I respect that. But I’ve yet to meet someone who can explain why digital is so much worse, they’re always like “film looks better, the colors pop more”, like, OK? Just crank up the saturation and vibrance in post if you want that, it can be done to the same effect. Digital is objectively the better option, and anyone who says different says so because their favorite filmmaker said it. Film can’t be made to look like digital, while digital can be made to look like film. Props to anyone who prefers it, but let’s put that myth to bed.
I think a lot of it now is personal preference, since with the post production process we have now, they are indistinguishable from each other (as seen in Steve Yedlin's presentations). I don't think Tarantino will shoot on anything other than film, and I respect that, but I just can't get behind film is better than digital, mainly because they are built for different purposes.
1/4 CTO not CTB on windows. The HMIs are daylight balanced lights and all the lighting inside is tungsten. Deakins lighting plan also says CTO... He's trying to bring the blue out of the daylight in the windows.
So I think I covered this in another comment, but on his website, he'd written that he used CTB's, and whilst it looked like CTO's, I didn't want to imply anything.
Great breakdown of a specific movie with lighting setups and everything! I would do away with the center framed subtitles though. They're a bit distracting and I think actually take away from what you're saying.
Glad you found it helpful! I was actually told the same thing a couple of days ago, so in Wednesday’s video, I’ve only done it for titles and for when it needs to be noticed. It’s easily been cut down by about 70-80 percent. Thanks for the feedback though!
There is a movie called super dark times that I think is one of the best shot movies ever and it’s also an amazing film I would love to hear you talk about it
"...you can tell a lot of night scenes were shot high iso with practicals." If the end product looks great, who cares? There are plenty of movie that were shot on film where I can tell how they lit or staged a scene; that doesn't automatically make it bad.
The actual content of the video is great but PLEASE dude, cool it with the text on screen. It actively makes it harder to focus on the image you’re talking about and it becomes quite annoying after about 30 seconds
Thanks! And thanks for the actual feedback as well. I’ll cut down on it a bit, but the videos just seemed way too bland without some form of text popping up, ill try and find a way to still make it engaging whilst being less distracting. I get that it can be annoying though.
@angusDavies Love your work, I wouldn’t cut down on text but maybe use still frames when putting text more? It would let me take it in a bit more I guess Keep up the great work. I would love to see Drive from Nicolas Winding Refn analysed Thanks
What's your favourite film shot by Sir Roger Deakins?
deakins is the master. he manages to make things look ethereal and completely natural at the same time. difficult to choose a favourite but deakins and villenueve are a match made in heaven
'A Serious Man' sowed interesting in operator work for me. It was the film that just clicked in my head and made me google who was responsible for camera work.
Bladerunner 2049 is the most visually impressive film I've ever seen.
"The Assassination of Jese James by the Coward Robert Ford". Superb!
@Ramakrishnan Nagarajan imo it's the best work of cinematography ever by the greatest cinematographer ever!
It's "Sir" Roger Deakins now. Haha great video man!
I know! I referred to him as that in my No Country video, but was told off...
Thanks! Glad you liked it
Dude right from the time I've seen this film, I'm obsessed with the visuals of aspect of it. Thankyou for making this.
Same, you just can't look away when you put it on either.
Glad you liked it!
Excellent commentary and very informative. As a visual effects artist on over 40 feature films and 20+ episodics, I know all too well about working with film. Shooting with digital cameras isn’t lazy so much as it is economical.
I worked on “Idiocrisy”. Much of the work I did was cleaning up footage that had been damaged in the process of transferring the film to digital for vfx.
One scene that took place in a bedroom the film was damaged dramatically when it was in the lab being scanned to transfer to digital. The scratches were so extreme that it looked like it was pouring rain in the room. It took hours on one shot to paint out the scratches. And there no visual effects for that scene.
I’ll gladly watch hours covering Roger Deakins work. There is so much to learn from his approach and techniques.
Thanks!
Exactly, some films simply don't have the budget for them, or would rather use those funds for other aspects of the production.
Great movie, ah right, that must have taken quite a bit of time!
Same, he actually just did a talk with Dick Pope all about his new book. It's pretty much an hour and a half of two incredible dp's talking about what they love, and his photos. It should be uploaded somewhere soon!
Excellent inheritor of Every Frame is Painting. My personal favourite is how you refer original facts like used cameras and shooting plans. Your channel defiantly needs more attention, can't believe there are only few thousands of subscribers.
I don' t think I could ever fill their shoes, but thanks so much for the compliment!
I try to only make my videos surrounding the facts of how a cinematographer or director shot a film, and when I occasionally go in depth into my own theories of why they did what they did, I make sure to say. I want these to be as factual and educational as possible, but at the same time, entertaining (hopefully).
Maybe one day!
I LOVE the way this film was shot and thank you 🙏🏻 for breaking it down. Warm interiors
Cold exteriors
Arri Alexa Plus and Studio
Zeiss Master Primes
And the breakdown of the Thanksgiving dinner interior was 🤌🏻
dude you're channel is criminally underrated
man your work is incredible you deserve like 100K subscribers, here from France and i love it
Thank you so much!
Glad you like it!
Prisoners and FARGO are my favourite Deakins shot films.
Absolutely love Fargo, will definitely be doing a video on that in the near future.
Incredible analysis bro!
Appreciate it!
Beautiful just beautiful thanks for the Video I missed these details and the mood of the frames while watching the movie
Awesome work man, would love a whole Deakins series with each film analyzed or a deep dive on some scenes. I'd love to learn more about how he does silhouettes, and if there are some lower cost ways of replicating them for us lower budget film makers.
Thanks!
I’m working on it, Right now I’m doing one video on Deakins then one on another DP.
I’ve been considering doing a couple of videos surrounding me shooting films/docs as well, and as long as it’s right for the story, using Deakins techniques, such as cove lighting.
I really need to look into how he uses silhouettes as well!
Absolutely lovely analysis. Need alot of more analysis like this on Roger Deakins other works, Jeff Cronenweth, Greig Fraser (DP) and David Fincher and Denis Villenueve.
Glad you liked it!
I have several videos surrounding Roger Deakins and Jeff Cronenweth’s cinematography coming up! I’ll be sure to add Greig Fraser though.
I’ve got a couple of other Fincher films on there, but the ones shot by Cronenweth are top priority (closely followed by Mank)
@@AngusDaviesDP can't wait and keep up the good work
Exactly the type of content i've been looking for. Thank you so much, keep on please!
Glad you like it!
There's so much more to come
@@AngusDaviesDP one thing i would suggest is to add more of BTS photos/videos to show how some interesting scenes were shot and explaining more of technical stuff like what they used and why
Will do!
I always try and download a ton of BTS, but I just never end up using them in the video. I'll make sure to include loads in Wednesday's video!
Please could you do a video on Dean Cundey? he shot films like Escape from new york, Halloween and The Thing? there,s not enough info about his style and process
Great idea! He's done some incredible work, but you're right, there's almost nothing about his cinematography style.
Deakin's lighting always looks so natural!
Concise, informative, on point, and very enjoyable! Thank you! :)
I would love a breakdown of Turtles All the Way Down, that movie has some of the most expressive cinematography I've seen.
Thank you so much for making this♥️
Glad you liked it!
I was lucky enough to see this originally in theaters not knowing who the heck Denis Villenueve even was at the time and was so surprised and satisfied when I walked out of the theater. I agree the lighting, and style kept it grounded all the way through and could have easily gone into the realm of gothic/sacrificial/spiritual tones with the color and set choices. This is a gem and I hope we can get something original and smaller scale like this again in the future from Denis and Deakins. Hopefully after Dune, we can see some more passion projects that are not as grand.
Your video is really great. Just a note: not CTB as you say twice but CTO gels. (at 3:51 and 4:43)🤘
Thanks, glad you liked it!
Ah my bad, On his website he used both so I added the text at 3:51, but completely forgot at 4:43
Thanks for pointing it out!
Such a great informative video. A good film to analyse would be Steve McQueens debut hunger. There would be a lot to go into with that one.
Glad you liked it!
Great suggestion! Just by looking through a page of stills, I can see a lot to go off.
Not tryna pull a “Gotcha” cause I love these videos but I think there’s a mistake around the 4:23 mark.
The diagram shows 1/4 and 1/2 CTO (Color Temperature Orange) but your narration says CTB (Color Temperature Blue).
Anyway, thank you again for making these videos! They’re hugely helpful!
I think I've done that a couple of times now...
Thanks for pointing it out! Glad you like the content :)
I really appreciate this video.
Thank you 🙏
Glad it was helpful!
Excellent stuff, and you have a great voice.
Thanks!
The presenting has definitely gotten better over the past year.
With an exception of some setups, this is the kind of film you can light with just a 2 ton lighting package
Thank you!
Can't get this film anywhere. I wanted to see this film so much. Damn!
It's on Netflix UK at the moment if you have a VPN.
Hope you find it soon, it's incredible!
Man, Roger Deakins is just a different type of cinematographer
When he stops, he will probably become the final level of cinematography. Like “on a scale of 0 to Deakins, how good are you?”
I'd love to see you cover the Ocean's Trilogy and how each film differs. Ocean's 12 always gets a bad rap, but I don't think people realize just how heavily influenced it is by French Wave cinema
What a brilliant idea!
I love all of the Ocean Films, as whilst 2 & 3 don't come anywhere near 1's level of plot, they are still extremely fun watches.
I'll definitely be making a video surrounding them in the next couple of months!
Your videos have me looking to hit the subscribe button even though I'm already subscribed.... thank you.
Haha, Glad you like the content!
Amazing video. Waiting for The Batman cinematography breakdown
Thanks!
You and me both! I can't wait to finally watch it and eventually break down the cinematography. Let's hope we get a blu-ray release rather quickly!
Nice video bro very much helpfull thanks alot.. and one favor to ask can you do PRIDE AND PREJUDICE.
Thanks, Glad you found it helpful!
That was a brilliant film, definitely adding it to the list!
Truly excellent videos you share!
I would like to hear your take on the BBC show, Normal People. The cinematography and the emotion of the series work quite well together.
Thanks! Glad you like them!
I've heard of that, but haven't had a chance to give it a watch yet. Looks really intriguing though!
Do you have video on Roger Deakin’s use of camera movement?
Not yet, but it would make a great extra video on Sundays!
Thanks for the idea!
YOU DIDNT DROP THE LINK
Awesome movie and brilliant video
It is!
Glad you enjoyed it
“There’s still people who think shooting on digital is lazy”, yeah, people who heard Tarantino say film was the better option and took it as gospel. Tarantino is phenomenal, but film is just what he’s comfortable with and he now has budgets that allow for him to use it and get good quality out of it. Deakins, despite his age, isn’t afraid to get uncomfortable, move and adapt with the times, and if that person thinks that Blade Runner 2049 looks “lazy”, that just tells you what you need to know about them.
I love Tarantino, but I just can't get behind him on that take. Especially when there are countless cinematographers who can create just as good a look if not better with digital, and if you even look at why certain DP's choose digital, it's a storytelling choice not a practical one. It was even the case for Deakins with In Time.
@@AngusDaviesDP I have nothing but respect and admiration for the man myself, but his rhetoric is just a byproduct of his time. He grew up with it, is comfortable with it and to him, it’s sacred, and I respect that. But I’ve yet to meet someone who can explain why digital is so much worse, they’re always like “film looks better, the colors pop more”, like, OK? Just crank up the saturation and vibrance in post if you want that, it can be done to the same effect. Digital is objectively the better option, and anyone who says different says so because their favorite filmmaker said it. Film can’t be made to look like digital, while digital can be made to look like film. Props to anyone who prefers it, but let’s put that myth to bed.
I think a lot of it now is personal preference, since with the post production process we have now, they are indistinguishable from each other (as seen in Steve Yedlin's presentations). I don't think Tarantino will shoot on anything other than film, and I respect that, but I just can't get behind film is better than digital, mainly because they are built for different purposes.
1/4 CTO not CTB on windows. The HMIs are daylight balanced lights and all the lighting inside is tungsten. Deakins lighting plan also says CTO... He's trying to bring the blue out of the daylight in the windows.
So I think I covered this in another comment, but on his website, he'd written that he used CTB's, and whilst it looked like CTO's, I didn't want to imply anything.
Great breakdown of a specific movie with lighting setups and everything! I would do away with the center framed subtitles though. They're a bit distracting and I think actually take away from what you're saying.
Glad you found it helpful!
I was actually told the same thing a couple of days ago, so in Wednesday’s video, I’ve only done it for titles and for when it needs to be noticed. It’s easily been cut down by about 70-80 percent.
Thanks for the feedback though!
Someone: How Roger Deakins SHOT Prisoners?
Me: Using a GUN.
😆😆
BTW keep on going, these types of vids are required.
Hi Angus, What website it that at 7:41 in your video? It has a large grid of stills from Prisoners...
ShotDeck probably
There is a movie called super dark times that I think is one of the best shot movies ever and it’s also an amazing film I would love to hear you talk about it
Thanks for the rec! I'll definitely be checking it out.
How Bill Pope shot The Matrix. 🥺🙏
Added to the list!
❤
The sad part is ... poor people don't give a shit about color grading.
eh?
"...you can tell a lot of night scenes were shot high iso with practicals." If the end product looks great, who cares? There are plenty of movie that were shot on film where I can tell how they lit or staged a scene; that doesn't automatically make it bad.
It really didn't make sense to me when I read that, the film looks great, and he did what he had to, to make it look great.
That guy was such an NPC
Never show who said that a Stanley Kubrick film
Kubrick movies
I've got a couple on the list!
(Barry Lyndon & Eyes Wide Shut)
@@AngusDaviesDP perfect. Barry Lyndon is my favorite. Your channel is great!
The actual content of the video is great but PLEASE dude, cool it with the text on screen. It actively makes it harder to focus on the image you’re talking about and it becomes quite annoying after about 30 seconds
Thanks!
And thanks for the actual feedback as well.
I’ll cut down on it a bit, but the videos just seemed way too bland without some form of text popping up, ill try and find a way to still make it engaging whilst being less distracting.
I get that it can be annoying though.
@angusDavies Love your work, I wouldn’t cut down on text but maybe use still frames when putting text more? It would let me take it in a bit more I guess
Keep up the great work.
I would love to see Drive from Nicolas Winding Refn analysed
Thanks
5oya gheyerha
great video terrible accent
Appreciate the kind words!