Welcoem to posts!!
in the future - u will be able to do some more stuff here,,,!! like pat catgirl- i mean um yeah... for now u can only see others's posts :c
#TheGame: Rooftop scene lighting diagram.
#HarrisSavides #DavidFincher
For educational purposes only. Non-commercial purposes.
38 - 30
#TheGame: Lighting diagram for Van Orton's sitting room with graffiti.
#HarrisSavides #DavidFincher
For educational purposes only. Non-commercial purposes.
44 - 1
#TheGame: Lighting diagram for Van Orton's hallway with graffiti.
#HarrisSavides #DavidFincher
For educational purposes only. Non-commercial purposes.
36 - 1
#TheGame : Lighting diagram of Van Orton's sitting room. 2/2
#HarrisSavides #DavidFincher
For educational purposes only. Non-commercial purposes.
35 - 1
#TheGame : Lighting diagram of Van Orton's sitting room. 1/2
#HarrisSavides #DavidFincher
For educational purposes only. Non-commercial purposes.
39 - 1
#TheGame : Polaroids of Van Orton's flashback shot on a Panavision 16mm ‘Elaine’ camera.
#HarrisSavides #DavidFincher
For educational purposes only. Non-commercial purposes.
6 - 1
#LostInTranslation (2003): Plan of set-ups outside the bar from which Bob (Bill Murray), Charlotte (Scarlett Johansson) and Japanese friends flee. DoP: Lance Acord, ASC.
66 - 1
2/2 Hoyte Van Hoytema, on ASC, FSF, NSC, on "Her":
"The main reason we shot digital was to get exactly the kind of finish that you can't get from analog photography. I have always loved the texture of film, but this movie sort of imposed upon us a different kind of thinking about texture. It presents a future we do not yet know, so we wanted a futuristic feel of some type, but we didn't want to lose the poetry, either. So, I started experimenting. I tested a lot of cameras, including film cameras. The Alexa provided the feel we wanted." (...)
"Another advantage to shooting digital was that we wanted the Los Angeles of the future to look slightly brighter than it does today. Theodore spends a lot of time alone in his apartment at night, and we wanted the city illuminated around him, so we needed the extra stop or two the chip gives you. I also decided to use a variety of high-speed lenses to make the Alexa more sensitive to light than the human eye can see, allowing us to create a bit of lighting architecture along the way." (...)
"I was totally non-dogmatic about consistency, I used all sorts of glass with different optical qualities and distortions. We had lenses for flashbacks, lenses for high-speed work, and lenses for everyday scenes. I had a very old set of uncoated Cooke Panchros and an old set of Zeiss Superspeed [MKII] lenses. I also used a Canon K35 25-120mm [T2.8] zoom that had a very specific flare I liked for this film. I used that for the scene where Theodore goes to the beach." (...)
"Theodore spends a lot of time in the darkness of his apartment, and I wanted the modem city to sort of bleed into his bedroom, to extend light from the outside to the inside. We found an apartment in downtown L.A. that had big windows with a great view of the city skyline. "
"We had to maintain a low level of light inside the apartment so we could read the light from the outside properly. Our gaffer, Cory Geryak, built light boxes that held RGB LED lights that were all wired to a dimmer system controlled remotely with DMX.That gave us the ability to change the level and color of our sources instantly to correspond with the colors coming in from outside. " (...)
"I've always been irritated by the idea that you have to have a DIT creating looks for you on set. I wanted to focus on what was in front of the camera. So, Spike and I decided we didn't want a DIT.
I considered the camera a raw machine and viewed everything on the monitors at a simple Log-C setting. We took that whole process off the set, and that gave us more freedom. In a way, our approach was classic: we shot, sent the material to someone else, communicated with that person every evening, watched dailies, and then made changes where we needed to. On my iPad, I could see all grades in still photos, call up those stills, draw on the pictures. We were so thorough with the dailies process that the look was already there when we finished shooting."
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1/2 Hoyte Van Hoytema, ASC, FSF, NSC, on "Her":
"Spike's script was a very verbal one, but it had little pointers in it. We agreed there was a lot of poetry between the lines. Spike didn't want anything dystopian, and he wanted a future that felt a little more tactile than it does in most films. With that in mind, he and production designer K.K. Barrett showed me a lot of reference photography that they loved. The main reference was a book of photos called 'Illuminance' by Rinko Kawauchi, a Japanese photographer. The photos are dreamy studies of what appears to be very trivial. They're square photos with a kind of muted palette, and they are extremely sharp and crisp, yet romantic and poetic. They radiate fascination with specific details."
37 - 3
All material for educational purposes only. Copyright Disclaimer Under Section 107 of the Copyright Act 1976.