» Posts Tagged ‘DP’

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Lol CrawleyCinematographer Lol Crawley, who has shot such films as Ballast, which won for Best Cinematography at Sundance in 2008, and last year’s Mandela: Long Walk to Freedom, has a true knack for capturing painfully personal and intimate images. He took some time to share some cinematography advice back in 2012 for his BAFTA Cinematography Masterclass in Bristol, and Anna Hoghton highlights and paraphrases the key ideas he shared, including how to light and finding your voice as a DP. (And we’ve taken a few of our favorites to share with you!) More »

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Emmanuel LubezkiFollowing celebrities on Instagram is nothing new. I’m sure you or someone you know religiously (and/or secretly) checks out Rihanna’s, Kim Kardashian’s, or even the Biebs’ posts, but if you’re like me and you haven’t quite jumped on the “Instagram as social media” train, you may want to make an exception. Six-time Oscar-nominated cinematographer Emmanuel “Chivo” Lubezki, one of the greatest DPs of our time, not only uses his exceptional eye for moving images, but for stills that he posts quietly on Instagram. More »

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Ronny MullerWhen talking about influential cinematography, it’s impossible not to talk about Dutch cinematographer Robby Müller. His style is as distinct as those of the famed directors he has formed long-time collaborations with, like Wim Wenders and Jim Jarmusch. His approach to photographing a film begins with understanding its meaning, creating emotional and cerebral connections between the narrative and the visuals, and ultimately, the film and its audience. Cinephilia and Beyond has shared an interview Müller, in which he talks about working on Down By Law, that serves more as a masterclass in cinematography. Continue on to check it out. More »

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A057C003_120515_R2C5.0137578.tifIt seems as though people can’t stop talking about Spike Jonze’s newest movie Her — and rightfully so. The film’s story overflows with a certain humanity and honesty that may be expected from Jonze, but not as much from a contemporary love story. With such a great narrative, the visual storytelling should certainly echo its sentiments — a task given to cinematographer Hoyte Van Hoytema, who has worked on films such as Let the Right One InThe Fighterand Tinker Tailer Soldier Spy. In an in-depth piece, the International Cinematographers Guild plunges head first into the beautifully lonely world of Her and asks Van Hoytema how he built it. More »

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thr cinematographer roundtableThe Hollywood Reporter has released another installment of their roundtable discussion series, this time with cinematographers from some of the biggest Hollywood films of the year. Barry Ackroyd, Sean Bobbitt, Bruno Delbonnel, Stuart Dryburgh, and Phedon Papamichael sit down to have a discussion about all things cinematographic, from what’s it’s like to be a DP, working with directors, and the transition from film to digital. Continue on to hear the discussion. More »

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Christopher DoyleHere at NFS we’ve shared plenty of Christopher Doyle’s enlightening advice, as well as a cinematography masterclass from the legendary Hong Kong DP. At this point, it’s pretty safe to say that Doyle is one of my absolute favorite cinematographers. Maybe it’s his fabulous hair style, or his unique sense of camera movement and light. Mostly though, it’s due to the fact that he is one of the few cinematographers working in narrative features today who is a legitimate artist in every sense of the word. He uses cinematography as a vehicle to express his singularly fascinating worldview, which is one of the things that sets him apart from the crowd. Now we’ve got a fantastic piece of insight into Doyle’s unique artistic process in the form of an interview from thefilmbook. Check it out below. More »

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DOP GIFLong hours spent looking through a camera or at a monitor, working with hot lights and troublesome lenses, constantly on your feet putting out fires in order to get a good shot — that’s just a day in the life of a cinematographer. You know what? DPs, like everyone else on-set, need to work hard, but they need to have a laugh, too. I came across the holy grail of on-set inside jokes — specifically for DPs — in the purest form of internet comedy (the GIF.) Continue on to check them out. More »

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ScriptBreakdown

Most people know what the cinematographer does on a set. However, have you ever wondered what exactly cinematographers do during the pre-production process? What about what they do once the production has wrapped? Over the course of the next few months, nofilmschool will put out a series of articles that describe in detail the various steps that a cinematographer and his team must complete in order to take a project from a script to a finely tuned finished product. Today’s post: taking a script and breaking it down for technical, subtextual, and character concerns. More »

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Emmanuel LubezkiAlfonso Cuarón’s Gravity might just be one of the most technologically impressive films to ever see the light of day, and it’s certainly going to be a shoe-in for all major awards in the categories of cinematography and visual effects (and probably sound as well) come awards season. Last year, Claudio Miranda took home the cinematography oscar for his work on Life of Pi, and many were concerned that a film so heavily dependent on CGI couldn’t have proper cinematography in the traditional sense of the craft. However, Emmanuel Lubezki ASC, AMC (better known as Chivo) talked with David Heuring of American Cinematographer recently about the ever-evolving role of the cinematographer in the virtual age. What he had to say might surprise you. More »

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music_videoLights Film School is one of those awesome internet resources that doesn’t get enough props for its content. Even though they offer various paid iterations of their online filmmaking program, Lights still has copious amounts of free educational content on their blog, and it’s all top-notch. Recently, they sat down with acclaimed music video cinematographer Matthias Koenigswieser to chat about everything from gaining representation as a DP to his theories on lighting. Read on for some of the best tidbits from this fantastic interview: More »

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BRRecreation2

You can learn a tremendous amount by simply watching great films — paying attention to the details, breaking down a scene, concentrating on how elements come together. But if you really want to start making movies, learning a specific cinematic craft, it’s not enough. You have to get hands on.  It was with this in mind that I found myself increasingly intrigued with the idea of taking a compelling shot from a movie and seeing what could be learned by attempting to recreate the lighting as a cinematography exercise. I reached out to the very talented DP Seth Iliff, and asked him if he’d be up for the challenge. Despite our lack of budget and limited time he jumped into it with gusto. I got to witness the process first hand — here’s what I learned: More »

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Ed Lachman on Craft TruckCinematographer Ed Lachman has had a storied career working with some of cinema’s finest directors, the likes of which include Robert Altman, Steven Soderbergh, Sofia Coppola, and Todd Haynes. Craft Truck sits down with Ed to discuss his background in German expressionism, his approach to storytelling and his philosophy behind his use of color in his films. Hit the jump for the excellent two-part interview: More »

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StoraroDo you follow light like the moon follows the sun? How do the colors in your film express the thematic content? It’s in answering these kinds of questions that legendary cinematographer Vittorio Storaro (The Conformist, Apocalypse Now, The Last Emperor), has developed his approach to lighting over the course of his incredible career. In the 1992 documentary profile of Storaro, Writing With Light, we not only get an overview of his career, but we get glimpses into his working process and how that translates into his films. More »