Cinematography Style: Hoyte Van Hoytema
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- เผยแพร่เมื่อ 28 มิ.ย. 2024
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In this episode of Cinematography Style I’ll be analysing the work of famed blockbuster cinematographer and Christopher Nolan collaborator, Hoyte van Hoytema. Looking at how his philosophy on his visual style, and the gear he uses, contribute to creating epic and engaging images.
Further Reading: theasc.com/ac_magazine/Decemb...
Further Reading: www.indiewire.com/2019/09/ad-...
List of Films Featured:
Let The Right One In (2008)
The Fighter (2010)
Tinker Tailor Soldier Spy (2011)
Her (2013)
Interstellar (2014)
Spectre (2015)
Dunkirk (2017)
Apple ‘Homepod’ (2018)
Ad Astra (2019)
Tenet (2020)
0:00 Introduction
0:44 Background
1:20 Philosophy
3:38 Gear
7:57 Conclusion - ภาพยนตร์และแอนิเมชัน
You mean to tell me Hoyte shot the moon pirate Ad Astra scene using the same "film and digital" 2 camera setup Tommy Wiseau pioneered 16 years ago with The Room? Had no idea someone else was crazy enough to attempt that, and actually find a practical use for it.
Tommy Wiseau is a genius!!!! He was ahead of his time
Step 1: Rent an IMAX camera
Step 2: go orange and teal
Step 3: Sell your house
@@THE3CLA1R3 Most important official step.
@@vitaminq4348 Definitely!!! :)
@@THE3CLA1R3 😂 lmao
Love the fact that he's from my country, got denied over and over again in the Dutch film industry, went to another country and finally got his change. Really tells you everything you need to know about the Dutch film industry if you ask me.
@Vfx Star
And he stopped by in Norway first for his second movie, which I recently discovered was directed by one of my teachers, and they apparently know each other pretty well.😄
Same in INDIA .
Bet they're kicking themselves now
@@TR4008 In india you get some chance
@@pavan_kumar556Yes, in regional cinema, specially in Kolkatta. Lots of good directors are from here. But popular Hindi cinema is trash
4:41, van Hoytema also used the Panavision Panaflex System 65 for Dunkirk & TENET, in scenes that weren't shot on IMAX film.
Hoyte van Hoytema is such an incredible cinematographer, I like that you touched on his methodology cause not many people really focus on his work
My man so ripped he can lift 2 imax cams at once
Incredible work! It's insane that you just started TH-cam channel and you're already so good at it. Very deep analysis of every aspect. You have a subscription from me!
I Think you should make a DP analysis on Roger Deakins. His work is some of the best cinematography in the film industry.
Thanks for the feedback! Will definitely be breaking down the cinematography of Roger Deakins in a future video.
Subscribed! Lovely video on a lovely DoP. *Her* is one of my all-time favorite movies, in no small part due to van Hoytema's cinematography. I didn't know he shot that Apple ad too! I'll have to look further into that. I think it's great that you were able to break down van Hoytema's techniques without spoiling any of the movies and I really like your presentation style. Looking forward to your future videos!
Thanks for the feedback! That Apple ad is an innovative piece of commercial work for sure!
I just watched the scene in spectre where Monica bellucci is about to get assassinated at her home. How beautifully that was shot, the set dressing, lighting, movement, intense mood without words, deep rich orange hue of what I imagine were huge tungstens or really gelled HMI’s. I didn’t know that was him. Really love his style. Immersive is certainly the word
I actually recently discovered that his second movie was directed by one of my teachers here in Norway, Mona J. Hoel, and they know each other pretty well.
Very insightful. Keep posting. Subed and liked. :)
Will keep posting videos whenever I have time. Thanks
Agreed!!
I think I've watched all your videos now. Thank you so much creating these. So much great insight and inspiration.
im loving your videos! In your cinematography style videos, you make a list of the types of video cameras that they use, but since I'm a noob, I don't understand the different types at all. I'd really enjoy a video detailing what the difference is when you shoot digital versus film, and what the "spherical" lens is, etc.
Thanks for the feedback. I'm going to keep adding to a series on technical concepts and gear in the future.
Love the way you break this up. Such a wonderful balance of style and technical detail. You're able to educate without dumbing down or patronizing. Immediate subscribe! Looking forward to more.
Thanks for that. Appreciate the subscribe.
Keep doing these videos mate. They truly are amazing and insightful
Glad you find them useful. Thanks very much for the support.
“Not prettiest or most polished”
Can we just collectively contemplate over the fact that the fact that you have some light falloff, focus softness, or flare/contrast loss is considered to be flaw of photography/cinema.
People so up in arms about sharpness charts and ability to shoot right against the sun without contrast loss that pixelpipping is suddenly more prominent goal than gripping images.
That's a direct quote from Hoyte about how he describes his own style of cinematography.
There's definitely nothing wrong with images not being 'pretty or polished'. In fact I think the majority of DPs nowadays try to break down their images and 'give it character' by shooting on old glass, with vintage characteristics, falloff and aberrations to get away from what they see as the over-sharpness of digital sensors.
Personally, some of my favourite cinematographers shoot in a rougher, 'imprecise' style. It just comes down to deciding what look is best for the film.
I think a lot of people can agree that an unpolished, imperfect look to things is arguably better.
@@InDepthCine This point is also backed up further when you look at successful vs non successful CGI. The CGI that tends to go unnoticed is the stuff that sits in to the plate better - because they have re-introduced all of the beautiful texture (artifacts) that you get form your lenses, light sources, film / digital stock and of course just nature. That rawness is the absolute hardest thing to reproduce no matter how sophisticated CGI becomes.
@@oliath Greg Fraser and CGI team managed to achieve that quite well in Dune IMO
@@InDepthCine Interesting that you say that since I’d argue the opposite philosophy regarding DoF has caught on in the mainstream. Now, shallow DoF is equated with being more inherently cinematic and polished. If anything, I’d argue people avoid shooting at deeper stops because there’s an arbitrary stigma to it.Even mainstream productions now tend to stick to T 1.4-2.8 range and you hardly ever see anything beyond T 8 or even T4-5. Yes there’s a practical benefit to shooting more open like stronger separation quality and more flexible lighting options. It’s just annoying because it’s gone from being a trend to almost like a fundamental rule and it just wastes a lot of potential with your frame.
Love your videos mate! Thanks for the in-depth breakdowns. Van Hoytema is a legend
I randomly found your channel and man...you provide tremendous value!
Keep the good work going (I’m definitely watching your other analysis)!
You gained one more subscriber.
Thanks for the support.
One of the best TH-cam channels out there. Thanks for your work and keep it real.
Great reading of his work 👍🏾
Using green gel to emulate the bounce that plants and trees give is incredible technique. Mind blowing naturalism!
Lovely, I am deeply moved by your passion and observation.
Absolutely amazing work! Very interesting information! Keep it going!
🙏
Been watching all your videos. Absolutely brilliant!!
It's honestly so funny seeing them handholding the huge ass IMAX camera. Love your videos, waiting for more!!
He’s actually shot on Panavision 65mm lenses on the IMAX cameras for his last two IMAX projects.
Tip: Just hire Hoyte himself.
This was brilliant! Instantly subscribed!! Thank you
Very nice video mate. Appreciate your detailed breakdowns of their lighting setups and cameras.
Hope it was helpful.
man! you're work is so good! you deserve more subscibers
Really enjoying your videos. Keep up the good work.
I love love your videos especially this series. My only comment is that it would have been great to mention the focal lengths these cinemtographers use. Thank you again for your wonderful job
On that scene they were talking about from Ad Astra there WERE NO STARS IN THE SPACE! Great vid though.
My new favourite channel!!!
Your analyses are exceptionally well done! Thank you so much for sharing the information
Glad you liked it.
Thank you for sharing, I love your work!
I just finished watching Her. Great movie and beautiful cinematography by Hoyte.
You making me press the like button, Incredible work!
awesome work! Looking forward to the next one :))
Thanks. More on the way
Cinepresa IMAX sulla spalla ....vaccatroia non è poco..... 😮😮😮😮....un gigante in tutti i sensi. 🤟🏻🎥🎞️✨✨✨✨✨✨
enjoyed immensely, thank you
Loved this. Thanks.
This is really great - thank you!
2am kind of content. Love it
Great insight! Would you consider doing a segment on Dean Cundey?
Amazing edit
Great work!! thank you.
This video is so well explained.
Nice work man. Keep up. You got me:)
Loved your content. Please make a video on Wally Pfister( Nolan's frequent collaborator till The dark knight rises). He is my favourite cinematographer( now turned director) .🙏🙏🙏
Subscribed & following. We need more content like this.
Thank you!
For a beginner too, this is very helpful.
Could you make a video on black and white movie cinematography?
Thank You So Much Man ♥️
His cinematography is amazing
Good video essay I liked how you said specifically what technical instruments Hoyte uses e.g. the 1/2 CTO Gel for light.
At times though, it sounded like an essay a teen would write e.g. "he's a fan of using colour where possible". Every cinematographer likes using colour, leave out basic or repetitive or unnecessary sentences
Great stuff
🙏
very informative video, thanks
well done!
awesome channel! weird question what is the song playing in the beginning of the video?
Thanks for sharing, MAN.
The misspelling of Hasselblad triggered me :-)
He shot Let the Right One In? That's my favourite movie!
Most helpful
Great video ! Name of background soundtrack used in this video ??
Plz make videos..about lensing...and lighting using various cinematographers
Could you do a video about classic DPs like Gregg Tolland, Karl Struss or Arthur Edeson.
Just heard of you from reddit outstanding work
🙏
Thanks
In depth technical gears soon please
Her was also shot on a Canon EOS-C300 Camera.
If I was a film director, I would contact Hoyte van Hoytema to work with me on a film project! Love his work!!!
Got any ideas for a project?
@@maciek8159 Not yet, so far! But I might pull out something in the future!
@@davidle4936 Well if you do I would love to be your cinematographer
@@maciek8159 I'm sorry where are u from?!
@@davidle4936 I live in Connecticut. I'll work for free just for the experience.
Explain his cinnematogrphy style in the classic "Svidd Neger"
Do you know what do focal lengths he prefers?
Wow.... exactly my kind of channel
I belong here..... 😍😍😍😍😍
I think you're assigning a lot of the Director's job and decision-making to the cinematographer. According to this, if Van Hoytema were shooting the next Wes Anderson picture he might show up with an IMAX camera and decide to shoot handheld in natural light. No. It would still look like a Wes Anderson picture. The Director decides the visual style and how the camera moves in space based on the 'tone' of the film. Of course all of this is done in deep collaboration with the cinematographer. Besides that this a great video. Van Hoytema is truly a master of light.
Other crew members besides directors can develop a style. About your example, Wes Anderson probably wouldn't choose Van Hoytema to DP his next film. Just like he probably wouldn't choose Hans Zimmer to score it.
Please could you tell me where you read Hoyte Van Hoytema uses 1/4 plus green gel and 1/8 CTO gel in some scenes. Thank you.
NICE
epic Content keep it up
A romantic view of cinematography, thank you👍🏻
I hope you can do one for Janusz Kaminski, amazing content.
Good idea.
Nice video!
Thanks Oliver
Good job pal
Van Hoytema is up there among the league of cinematography legends such as Emmanuel Lubezki, Roger Deakins, and Wally Pfister.
Ehh, I don't know about Wally Pfister...
@@Whoa802 lol for real. If you wanna talk legends you better bring sven nykvist into conversation and many more. But obviously the commenter thinks he knows film cuz hes seen chris nolans filmography lol
If you did this but with microphones, sound engineers, and mixes.. well I'd watch every one.. at least three times
Very good. (Subscribed)🙏🏻
Thanks for the sub.
ciao ! Name of the song ? thank you !
whats the background music? its touching
Can you do one on Dan Mindel please ?
Hi! I really love your videos! But I can't help but notice that the light you show a picture of and you describe as an 18k HMI, is actually an Arri M18, which is 10 times less powerful. Other than that, please keep making these case studies!
this is gonna be hilariously nitpicky, and I didn't expect you to know this at all, but Lodz is pronounced "wooch." :) Great video!
I've his cinematography style.
Whats the name of the music is playing?
He shot also canon FD in Her
Upload in upscaled 1440p next time?
Is it a movie at min 3.53? Where does this scene belong to?
in film, if you gotta name like Hoyte you automatically great
Final decisions on camera movements, vfx etc are taken by directors. Cinematographers have the magic to provide what directors need.
@@souffle01 Mostly yes. Actually the way it works is, the camera angles, camera movements and lens selections primarily come from the director (a director who knows his/her job), and then if the cinematographer has any suggestions, they are considered. On the other hand, the lighting part comes 100% from the cinematographer, and the director may suggest something on top of that. Now if someone says, a cinematographer should get the credit for the way he/she decided to move the camera, that is wrong.
@@souffle01 That is right. Different projects work in different ways. But there are some basic standards, common things that good directors always do. For example as I said before, camera angle, movement and lens - they are always decided by directors, to begin with. If you disagree with that, you do not know what you are talking about.
@@souffle01 Camera angle, movement and choice of lens - these 3 are part of director's vision. Now, I agree with you, exception can happen. A film can be made without a director too.
From what I have read its a collaborative process. Obviously, the director has the ultimate decision and they usually choose to work with people that have similar styles to theirs.
@@dwaynepiper3261 Yes, movie is a collaborative art. Many people's artistic contributions get combined into a final expression. But even then, in a professional environment the responsibilities are very well defined. Music composer, editor, production designer, Makeup artists, costume designer everyone does their own job, and finally director may tweak that to match his/her vision. Sometimes some instructions are given beforehand. For example, when a blue wall is required, director tells that to the production designer ahead of time. Like that, DP has this well defined job of providing the lighting. Some discussion may be required ahead of time here as well, but not always. But framing, camera angle, lens selection , camera movement - these are part of the director's vision. It is director's job to come up with those. DP would execute those. It is very well defined, and there is no room for debate on that point. Sometime ago some people were making a short film, and their DP bailed out at the last moment, and I offered to fill in that position (even though direction is my faculty) in hour's notice. The director of that film being unaware about camera part, I had to guide her with all those (framing, angle, movement, and I used only one prime lens in all the shots - a bit rare, but not unheard of), and most ideas came from me impromptu (which is a horrible thing to do if someone is serious about making a movie) But that was an unprofessional scenario where the director was not educated about her job.
He may be known by the majority for being Nolan’s man, but for me? He will always be known for Let the Right One In
This guy should work on BLADE RUNNER next time
Please make video on Wally Pfister... Please..
He is my favourite.