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9 of 10 people found the following review helpful:
3.0 out of 5 stars
Interesting but flawed..., October 8, 2008
Avid cinephiles will usually eat up just about anything about the craft of filmmaking, so I would consider this a nice appetizer more than a full meal. The Doc has way too many interviews for such a short running time. It spends a good 20 mins on introductions before it really gets going to the good stuff, with some guys getting less than a minute or two.
And with no archival footage (just static interviews) it's hard to get a real vision of their work. For example Roger Deakins talks about tweaking the opening shot for Barton Fink but we never see it. There is some interesting jargon about different lights and lens's but not enough real insight into particular films. I was never bored but I wish they had gone deeper into the actual specifics more.
If you havn't seen the terrific Visons of Light, I reccomend you start with that, it has more history and is loaded with clips, and then if you're still hungry for more check this out. The special features do contain two 1hr chats with Vittorio Storaro and Gordon Willis that go into much more detail than the actual doc.
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6 of 7 people found the following review helpful:
5.0 out of 5 stars
Cinematographer Style; The Definiton, December 14, 2008
By: Yousef Linjawi
Jon Fauer, ASC made an unforgettable contribution to the world of cinema when he sat down one day with Richard Crudo, ASC, Stephen Poster, ASC and Victor Kemper, ASC among other ASC officers to find ways to raise funds for the renovation of The ASC Clubhouse and Building fund to add more space to contain the ASC museum. What evolved from there was a remarkable 110 interviews of the world's top cinematographers of our time. After watching the 90 minute feature length documentary, which was truly a highly appraised commendable effort that deserves to be noted throughout history.The hard work of taking on a huge task to bring the art and craft of the style of cinematography to the eyes and ears of viewers and thirsty students from all around the globe. This book; "Cinematographer Style - The Complete Interviews, Volume I" provides you with a complete transcript of all the questions and answers conducted in those interviews.
I have also found this book to be one of the utmost comprehensive discussions related to STYLE. How does each artist finds creative inspirations within them that enhances their contribution to tell the story. I have very well enjoyed reading each view point made about What is Style? and Where does Style come from? and What's the relationship between Technique and Technology?
In reference to this topic, Mr. Frederic Goodich, ASC notes: 'There is a long standing debate in the arts that contrasts 'style' (technique, design, surface) vs. 'content' (story, plot, feeling, direct documentation/coverage). Critics and theorists have been debating these issues for centuries. For instance, in western European painting, contrast the Baroque and Rococo periods, the latter being more elaborately designed, ornamentation-oriented than the former -- it was style over substance. With respect to filmmaking, you may look at contemporary big-budget action films as a form of rococo. Cinematographers are caught in the middle of this debate, particularly as they are often working in the service of the director's vision, yet hope to put their own imprint on the material. Which considerations should come first, making beautiful pictures or recording images that simply convey the story - or some approach between the two? '
Volume I, contains 55 of the 110 interviews conducted from 2003-2005, yet you will find that there is no one answer to define the art of cinematography.
Only to name a few highlights of this book:
My favorite interview was with Gordon Willis, ASC (17-18 pages) where he talks about his minimalist philosophy in his style and what type of research goes into his work.
Actually, my best part was his definition of 'Dump-truck Directing' and ''Shotgun Moviemaking'. He also believes that a cinematographer can't shoot well, unless he knows how to edit. Where Mr. Willis, ASC is known to practice editing through his lighting. Mr. Willis has very strong views on cinematography and the cinematographer's responsibilities in the film. As he's well regarded to be the most influential cinematographer of our time. His leading work inspired top cinematographers and generations after him that followed his spirit. Mr. Willis, ASC is also noted for his lifetime contributions to the art of cinematography for the creation of the visual structure. As seen in his 'Godfather' films.
Roger Deakins, ASC, BSC talks about priorities since he operates his own camera and his concern with composition and framing the action while blocking the scene with the actors before lighting.
In fact, coming from a documentary background influenced by Cinéma vérité, he finds lighting to come secondary. He also commented on how 'Technique forces technology, not the other way around' .. Another great example of his approach that "Filmmaking is about the script and actors. I think camera work and lighting have to be seamless rather than in your face. When someone says, 'What a beautiful shot film' that is not necessary good because they should really be talking about the interpretation of the story, what the story felt like to them, and if they enjoyed the film' Roger Deakins, ASC, BSC
Bill Dill, ASC is a very passionate teacher, who is truly a visual psychiatrist. He likes to share this passion with his students through attitude on set and the perception to view the world from. He believes that style comes from the cinematographer's life experience and his interpretation to the emotional beats in the story. By default, a cinematographer will have his thumbprint and signature by contributing to the picture.. That's why his view point on style to be "irrelevant if it does not tell the story. In fact, it is worse than irrelevant - anything that doesn't push the story forward pushes it back.' Bill Dill, ASC.
- There are three things lighting has to do:
1. Provide sufficient illumination to record the image on film.
2. Make up for the difference in contrast from our eye to the film.
3. Enhance the illusion of a third dimension into a two-dimensional medium.
Bill Dill, ASC
I believe you can benefit from these interviews with Bill Dill, ASC and by sitting at his lectures that you would from a film school degree.
Denis Lenior, ASC, AFC talks to us after moving to the United States about the difference between American vs. European style of cinematography. I was fortunate to attend a screening for Mr. Lenior, ASC, AFC for 'Righteous Kill' where he explained to us that his philosophy of lighting and exposure has evolved from his early days of being fascinated by darkness. Whereas, now, he found that lighting faces brightly can show you more of the emotions in the face, but you will still achieve the contrast that is pleasing to our eyes. Simply, by putting the shadow side in less brightness than than the key (to trick the mind to think that it's dark) but reality it would be N or N-1 on fill. and the Key N+1 or N+2
Chris Manley, ASC talks to us about crew management and the politics the will face upcoming cinematographers and what practice should they apply, especially with larger productions and how all that will certainly affect your photography as well.
Don McCuaig, ASC talks about his long experience working as 2nd unit DP. and how much of information does he talk through with 1st unit Director of Photography.
M. David Mullen, ASC talks about Digital Technology and DI. He also explains how some producers want to push cinematographers off the wall when going to Digital Intermediate (DI).
Bill Pope, ASC give us quite an insight into how New Wave techniques and technologies are heading.
'We have to Light and compose and create movement - the basic elements of cinematography' says; Owen Roizman, ASC
In a cinematography forum at AFI, Tom Stern ASC, AFC remembers working with Mr. Roizman, ASC who is probably the only person in the world who can notice shift in exposure by 1/10 of a stop, which is very remarkable. Because film emulsions and LAD tests are configured by 1/3 of a stop to minimum noticeable adjustments. To confirm this statement, Mr. Stern once pushed a midget very quietly 6'' forward while gaffing for Mr. Roizman on set. A minute passes and Mr. Roizman (who is sitting by the camera) looks at the scene and calls his gaffer Mr. Stern to come and admit what he's done. After reading the exposure difference in the 6'' move of the midget light, it was confirmed to be 1/10 of an stop. Truly remarkable.
John Seale, ASC, ACS talks in depth about his career and experience. Particularly his style being a realistic cameraman, and how difficult it gets him to use any filtration to make an image look pretty or deliberately pretty.
Dean Semler, ASC ACS, AM being one of the pioneers to indulge into Digital Cinematography and how he became categorized by producers to only shoot digital nowadays. Though, he shoots on both formats equally, just depends on the project.
Newton Thomas Sigel, ASC talks about his background in painting and how that influences his cinematography work.
Kees Van Oostrum, ASC inverter of the Aerocrane talks about the difference between a crane and the jib arm. He also brings up quite an intriguing concept --when we see pictures in museums, usually the faces are perceived to be darker than we are used to nowadays. Being brought up with the 'Kodak image' which shows you what a normal face should like is really an artificial representation of how it is in real life. He notes, in several occasions he was asked by directors to brighten up the faces in post sessions, but really there is no additional information you will gain by brightening up someone face. Very rarely are people's faces completely lit, therefore we should keep that densities controlled in our image to perceive the level of realism that we try to achieve.
Haskell Wexler, ASC talks about how he became a cameraman and his career shift with the unions from Chicago to Hollywood in the late '50s where he used to shoot a lot of documentaries. "I didn't know the Hollywood way and only knew my way, I did things that guys who were in the system for a long time didn't think about doing because it might have seemed too amateur" Haskell Wexler, ASC.
Jack Cooperman, ASC is known for his underwater work and aerial photography. He also talks about techniques used for underwater lighting.
Julio Macat, ASC talks about his story being a film student in UCLA to dropping out to driving a truck for an equipment company and how he became a cinematographer. Also, talks about his Home Alone films and the stylistic difference between them. Another enjoyable discussion with shooting for comedies.
Richard Crudo,...
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
Brilliant documentary, February 9, 2009
Ask a cinematographer about his work and what do you get? Poetry. This is a wonderful, informative, engaging documentary. It is composed exclusively of interviews with 110 world-class cinematographers. Yes, these are the people who shot your favorite movies of the last 45 years. They designed the lighting, style, composition, and camera movement, in collaboration with the director and the rest of the team. It is particularly engaging in that we feel there is complete trust of the person doing the interviews. He's a cinematographer also. Then, the Editing style is a brilliant word and theme association game. You also grasp the mythic, affirmative element of how knowledge is passed on through the generosity of the masters. Congrats to Jon Fauer. Okay, I'm going to go watch it again.
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