I think that the movie is even more personal to Paul Thomas Anderson. He made a movie about a tailor that is obsessed with every single detail of the making of his dresses while he himself was controlling every single aspect of the way his movie looked
I'm pretty sure the movie is inspired by his own life. Maybe he has the same experience with his wife when he is sick, he took that idea and changed the character's career from his filmmaking to tailoring.
I was thinking the same thing. Video essays have become out of hand when this is the theseis of one. Some directors are super hands on even when they hire a DP and Ive been around some that have no idea how lenses work and leave after blocking a scene. PTA is obviously one of the former.
How the preproduction is described here is the normal preproduction process for any cinematographer. PTA took the place of the cinematographer. Also, having a camera operator that is not the dp is helpful in that case.
I always find it interesting when a director shoots their own movies, Steven Soderbergh and Robert Rodriguzes do this a lot, but I think that having someone to focus on this stuff so the director can worry about one less thing is better, and it's always great to have amazing collaborators. But I can't argue with the results, I love the cinematography of Phantom Thread, but would be cool to se what Robert Elswit would do different.
While Cuaron's own cinematography work on Roma was good,I always think he fell short of what Lubezki could've done on that film. Still really dug those wide and expansive tracking shots. Really immersive stuff. That's what Cuaron had over Lubezki.
@@bw-xv2rz I think there's a clear argument that constraint does not inform quality. In this case a good analogy would be a piano suite. There are many ways to compose it, but the version with the most notes and complexities won't necessarily be the best. In fact, it's an understood principle that the notes you choose not to play are just as important. There Will Be Blood was a bombastic full orchestra. Phantom Thread was a quartet of virtuosos. Undoubtedly different, but impossible to qualitatively compare. In short, apples and oranges.
I saw this movie 3 nights in a row when it came out in theatres. It's one of those movies that changes your life perspective for a brief period of time.
I just rented this from the library a week ago. It's one of my favorite films. The scene at the party when the balloons fall from the ceiling? Magnifique
Are you a PTA fan anyway? Have you seen his other films? I ask as that scene made me think of The Master. I couldn't help but think Anderson was referencing Lancaster Dodd n The Master by having people dressed in over sized animal head costumes. It's a strange scene too, almost hallucinatory, which makes sense when you think Woodcock has been fed mushrooms by Alma.
@@BombshellCelluloid No. If all a director does is hire "good people"... they are by definition, a talent-less hack. The best directors know every aspect of film-making and could basically do every job if they had to (i.e. PTA). Directors who just "hire people", are again, hacks. Allot of working hollywood do fall into this category though... with nepotism, money, connections, ect.
@@Frontigenics Yes, that's obvious. This was a bit of sarcasm to the person claiming that to be a good cinematographer all you had to do was hire the right people. I was being circumspect. I fully well know being a good director is not JUST hiring the right people.
This video is extraordinary. To those who fixate on the semantics of the title (“PTA was the cinematographer”), focus on the point and the nuance here. Excellent work.
This gave me even more admiration for this film. I was very struck by the relationship and acting when I saw it in the theater. Not the kind of movie that's typically "fun" to watch multiple times -- but I think it's been long enough I want to watch it again now.
If anything directors are obsolete. When I first got into filmmaking i was always blown away with the way a movie looks, the smoothness of the camera movement, the effects, the acting, the locations, editing & color grading of a film & used to credit all these things to the director until I understood they don’t do any of those things & it crushed me because I had given them too much credit. Never before has a person watched a movie & said “oh wow I love the way the director of this movie told the actor to cry harder in this scene” or “I love the way the director chose to use a 24mm lens for this shot” lol it never happens but you’ll always hear a person say they love the effects, the locations, the color or the concept of a movie
I agreed with a couple of points you mentioned, but your claim that "directors are obsolete" is just wrong. The director oversees and controls everything; cinematography and acting included. Sure, they might not do these things themselves, but they definitely deserve some credit, as the director makes all the big decisions. To say that they aren't responsible for the camera work, editing, acting and colour grading is incredibly disingenuous.
Film directors are very important and I would not dismiss their contribution. However, no directors are the same; some directors like Mike Leigh really work with their actors to craft their performance. Other directors are very technical like Stanley Kubrick. Overall, the director oversees the whole process and utilises the talents of every one to hopefully make the best film possible. Ultimately, film making is a collaborative art, everyone has a part to play: no one is obsolete!
I don't usually leave commentaries, but your channel is simply amazing. As a small professional advertising director, I'm super impressed by the technical precision of your commentary, and learning a lot with your videos. Great videos..
It reminds of the controversial music question and it's answer: Are orchestra directors really necessary? R: No... But you better be you sure that every single one of your musicians is at the level of one
I disagree. The conductor is responsible for the interpretation of the music, and with dozens of different players there has to be one person in charge .
@@MichaelSBaram I know. I did'nt say that i agree but that there's a parallel There are orchestras without conductors, and plenty of professional musicians consider that the role of the conductor is no longer needed and is a remnant of archaic practices and conventions. Again, i don't agree completely
A conductor is absolutely necessary! The reason being the size of the stage footprint of a band of musicians that big. Let's say a percussionist, standing right at the back of the orchestra, has a part to play after the first violinist, who stands right at the front. Sound can only travel so fast, so relying on his ears alone, by the time the perc player hears the last notes of the violinist, he will in actual fact be a fraction out of time when he plays himself. This is why classical musicians train so hard, you have to learn to play out of time with what you hear. You have to learn to following the conductor visually acting as the overall time keeper, rather than following the musicians around you. It's only a fraction of a fraction, but an audience would hear that something was wrong.
The difference is with this movie, it’s just one person having enough experience to do another job. In the case of an orchestra, especially a large symphony orchestra, many of the musicians will be capable of conducting well, but the group as a whole may struggle to conduct itself. This can change based on the size of the ensemble and acoustics of the room. A full orchestra of 90 players in a concert hall would struggle to play everything in unison without error, even if many or all of the players can conduct.
I think that this May be the most beautiful movie of PTA. The production design is so accurate, so detailed, that's art at it's best. Every shot looks like an awesome paint.
My favorite director is Paul Thomas Anderson and that's because of the stories he tells. After watching this, which you do a great job at explaining the thought that goes into shooting, I feel as if I want to be that good. I love your videos because they do not discourage creativity but spark it. Thank you for the videos you create.
Well this is basically the same case as Stephen Sodenbergh, he work as Director and Cinematographer. Yes you need Cinematographer because sometimes if you work on 2 sector you could forgot a tiny detail you have made for the movie, and the reason Cinematographer exist is for assisting, providing advice that could enhance the quality of image and the appropriate information they will show inside a frame.
I agree. While cinematographers certainly bring allot to the table... they're mainly in charge of overseeing and executing the directors style. If a director's work would, otherwise, look like garbage without the cinematographer.. then. they shouldn't really be the director.
Thank you so much for this amazing breakdown. Phantom Thread, is my absolute favourite movie with DDL and PTA being my favourite actor and director respectively. As an aspiring writer and filmmaker from South Africa, your videos are immensely insightful and wonderfully produced. Thank you!
By and far my favorite Daniel Day film and Paul Thomas Anderson film. There's something mysteriously incredible that keeps me coming back, and that Jonny Greenwood score is simply god.
Been watching your videos for a while now and while watching this one I doubled checked to see if I was subscribed and realized I wasn't. I've never clicked that sub button faster in my life. The level of detail and work and information in your videos is just unbelievable. Can't believe you are not at a million subs. Thanks so much for what you do in this community.
You’re really a gem of RUclips,don’t know how I came across your channel but now I am feeling lucky. Looking for a channel which understand and describe the technical aspects of cinematography and the practical side of film making . Cannot thank you enough!!
My favorite cinematographers that I'd like to see covered, especially since they aren't in the spotlight anymore: Giorgios Arvanitis Robby Mueller Raoul Coutard Mikhail Krichman Keep up the good work, thank you!
i've watched a documentary on your first, arvanitis, he was a DIY monster genius working in almost all of angelopoulo's feature films... really impressive stuff...
Here in the states we call, what you refered to as litetiles, "Litemats". Made by Litegear, Litemats come in various sizes as you pointed out, and one of the size is the 4'x8' which is refered to as the litetile. They make a 10'x10' RGB called Aurora. I know in different Geographies names are different, but the concept is the same.
Another amazing video! And strikingly inspirational to anyone who, on the other end of the spectrum, have only an entry level camera and no budget for a DP: master your craft and work with your team. Because in the end of the day, it's not about how expensive your gear is, it's about being able to build your view on a screen.
Thank you so very much for your channel. It’s quickly becoming one of my favorite channels on learning about cinematography. I’m amazed at how much content you’ve pumped out so fast! Thanks for helping us see stories better!
I love cinematography but i also love directing and i never liked having to answering to the director and i feel like if i hired a cinematographer all they would do is choose gear and lighting
That's your perception... if you go with this philosophy from the beginning then yeah, maybe don't work with a DOP. But filmmaking is a team effort at the core. I you feel like you have to "answer" the director instead of making the film with them, that sucks. However, that doesn't mean you should avoid working with a cinematographer. Most directors would totally be able to shoot their own films, and probably did shoot some as well. However, in all cases, you have to work on your teamwork skills to make movies. Whether it follows the traditional hierarchy or not, you will work with a crew, even in it's most minimal form.
Thank you for sharing! So happy getting a technical look into the film, to be able to put its beauty into words with proper understanding is something to treasure!
I greatly appreciate the in depth look at my craft. I think your insights and detail on PTA's methodology are thoughtful and accurate. I have only one thing I would like to add, which this idea that there is "no cameraman" on a job is inaccurate. PTA is the cameraman, he may chose to go unaccredited for many reasons, but the truth is the job of shooting a movie starts long before day one of filming. Someone has to make a LOT of decisions about locations, costumes, colors, set design, scheduling, equipment orders, lighting packages, grip packages, crew hiring, etc, etc. These are all part of being the DOP or cameraman on any project. There is always a cinematographer, its just part of the process and in the case of PTA, you are absolutely correct, he is one of the few directors that has the knowledge and the smarts to be the DOP as well. So he did. (it is also a tricky union issue which makes it very difficult to actually pull this off)
Oh, I’m so glad you did a video on this movie! I watched it a week ago while it was up on peackock and was in awe of cinematography and acting in this movie! Thank you!
I just found your channel, and how nice that I did. Your analysis is at a very high level, at least for the layperson like me. Thank you for your fine effort.
What are some other films that you'd like to see broken down? SUPPORT THE CHANNEL ON PATREON: www.patreon.com/indepthcine JOIN THE DISCORD COMMUNITY: discord.gg/uNTTY8S
Excellent analysis as always! This film has been a source of conversation and debate between myself and another director, who i just shared your video with. we're still arguing about how the team achieved the naturalistic shake and rumble of the car scenes with the car itself being so distorted. I'm arguing that it was shot with extremely wide lenses and the camera mounted without a stabiliser, probably to reflect the rough riding of the cars from that era. We can't find any information to prove it though!
If you haven’t watched this.....ruclips.net/video/kpi393XkzUo/видео.html They discuss the car at some point in the video, but I find the entire conversation to be essential knowledge.
You should check out the Making of Magnolia. Just search for 'That Moment'. It'll give you an insight into just how much work went into that 3 hour movie.
I just came across your channel and subscribed immediately. I love the way you breakdown and explanation how PTA went about shooting his own film. Keep up the great work!
Love your work. Thanks so much for sharing these videos. They're a wonderful resource for someone (like me) who has very little technical knowledge. PTA's a gem.
Two of my favorite movies are There will be blood and The master. PTA might do ok without a dedicated DOP but let's be honest here: I can cut my own hair but it sure won't look like a professional haircut. The man is a brilliant writer and director and a surprisingly competent DOP too, but he should pair his talent with a DOP's, it just makes sense. You could try to do everything yourself but you would only do that out of necessity, not because it's the best way to shoot movies.
As usual, beautifully crafted analysis. I can't help but notice the interlacing in your videos. Perhaps it could be an easy fix within your export settings?
...and what a wonderful job PTA did on the film too. What I enjoy most about PTA is his ability to change. Would you think the guy that made Magnolia, with it's famous one take shot that lasts 5 or more minutes is the same man that made the still and poised Phantom Thread? Easily my favorite living film maker.
Could you make a video on Camera Operating sometime in the future? Like explaining in detail the role of Camera Operators on set and operating different cameras (ARRI, Panavision, Canon, etc.). Thanks.
What an amazing piece of work you created here! Thank you so much. If I may add one note of constructive criticism here: At some point during the Pre-Production segment I started to notice that there's a certain way that you read the sentences in your script, with stressing important words by raising the tone (you could even say the musical note) of that word. Especially when you talked about the film stocks and the lenses PTA tried out for the movie, it became an almost sing-songy way of transmitting the information that took me out of story you were trying to tell. I then went back to the start of the video. It's there too, but less pronounced, because there were less words you wanted to stress there. So it seems that the Pre-Production segment made it stand out more because of the many lines where the words gets stressed by reading them in a higher tone. I guess what I'm trying to say is: Try to find alternative ways to read out your script and lines, so you can alternate them with your current reading style. Or read some of them a bit flatter (for ex. the Coatings line with Warm Veiling Glare Highlights Bloom Soft Skin Tones) since the information is already on screen. It breaks the melodic 'rut' and also helps the other sentences around it. Please don't get overly focused on my remarks. It's just when there's a group of sentences with lots of words you want to make stand out more, it starts to fall apart a bit. That way of reading your lines then becomes almost rhythmic and melodic, which then distracts from the message you're trying to convey. And boy is it a great message. 💖
It had a cinematographer, PTA and Michael Bauman were just humble enough not to take credit. Both could have been co-credited but I think guilds would have argued that.
I think he respected the work of an cinematographer enough to not take complete credit away. And since he still had a film crew to work with,I think he would've put them above him in receiving cinematography credit if he had the chance. Besides the look of Phantom Thread didn't deviate much from Elswit's style whenever he collaborates with him. Cuaron on the other hand... Just kidding (sort-of)
shows his humility that Cuaron lacked thereof. Sure he is a master and probably was responsible for a large chunk of the look of Roma, still in his Oscar acceptance speech he didn't even have the grace to mention his camera crew like Ollivares. Ah well, who knows what happened behind the curtain there..
The first time I watched this movie I was taken back by the beauty of it. When I saw it a 2nd time the beauty never left, and I was smiling all the way through it.
@@davidlean1060 Right. Daniel Day Lewis is unintentionally hilarious with his moody quirks and one liners. He should've gotten some writing credit because he brought a lot of ideas to the film.
@@Onmysheet The quirks are unintentional on Woodcock's behalf, but Day Lewis deliberately plays him that way. Anderson and Day Lewis collaborate very well, so no doubt they discussed this aspect of Woodcock long before shooting began.
When I loved watching movies, I used to love PTA's movies. Nowadays, especially the last two of his movies I didn't like em much. But I think may be I've lost it to appreciate.
Honestly love these videos. So helpful in understanding different cinematographers processes. It would be cool if you could do a video on peter andrews aka steven soderbergh.
weirdly, i left phantom thread feeling like it was very pretty but lacking in any lasting visual impact, and i thought it was very disappointing in that aspect compared to the rest of PTA's library only later did i learn that elswit was not involved; it felt like the cinematography was lacking a naturalism or character somehow
![Tee Grizzley - Robbery 8 [Official Video]](http://i.ytimg.com/vi/34_vkNV6wrU/mqdefault.jpg)
I think that the movie is even more personal to Paul Thomas Anderson. He made a movie about a tailor that is obsessed with every single detail of the making of his dresses while he himself was controlling every single aspect of the way his movie looked
I'm pretty sure the movie is inspired by his own life. Maybe he has the same experience with his wife when he is sick, he took that idea and changed the character's career from his filmmaking to tailoring.
@@VincentStevenStudiohe confirmed it actually 😂
TLDR: You need a Cinematographer, in this case the DIrector was ALSO the Cinematographer
TLDW *
Who is TLDW?
@@mariopacheco5556 TLDW = Too Long Didn't Watch. As opposed to TLDR (Too Long Didn't Read)
I was thinking the same thing. Video essays have become out of hand when this is the theseis of one. Some directors are super hands on even when they hire a DP and Ive been around some that have no idea how lenses work and leave after blocking a scene. PTA is obviously one of the former.
How the preproduction is described here is the normal preproduction process for any cinematographer. PTA took the place of the cinematographer. Also, having a camera operator that is not the dp is helpful in that case.
That doesn’t mean the film had no DOP, it just means PTA was the DOP.
I agree, Pta understood and carried out the role of DOP accurately.
Yup.
There you go
I always find it interesting when a director shoots their own movies, Steven Soderbergh and Robert Rodriguzes do this a lot, but I think that having someone to focus on this stuff so the director can worry about one less thing is better, and it's always great to have amazing collaborators. But I can't argue with the results, I love the cinematography of Phantom Thread, but would be cool to se what Robert Elswit would do different.
Totally agree.
Cuarón did cinematography for Roma I believe, great stuff
Ah yes Robert Rodriguzes Spy Kids has my favorite cinematography
Franco Piavoli would be another good example, although most contemporary filmgoers will more likely know of commercial directors like Soderbergh.
Scorsese does this too and makes his cinematographers into lighting crew
Alfonso Cuaron was his own DP on Roma. He definitely learned a lot from Chivo
Mmmmmm................
No, it was Galo Olivares
@@AntonActions He was his assistant. The look and style of the film is pure Cuarón.
While Cuaron's own cinematography work on Roma was good,I always think he fell short of what Lubezki could've done on that film. Still really dug those wide and expansive tracking shots. Really immersive stuff. That's what Cuaron had over Lubezki.
Some of the crew think Galo Olivares should have been co-credited
I cant believe this content is free. I hope you get all the recognition you deserve for such quality work.
You can give him money on his patreon account
... and may this occur in his lifetime!
Yep, this youtube video is up there with Tesla's plan to give everyone free wireless energy
1:06
patreon: indepthcine
I love cinemagraphy of Phantom Thread. I think is up there with There Will Be Blood
All credit goes to PTA for his lovely visuals
The master looked beautiful too
I love it, but it's nowhere near There Will Be Blood. It's very constrained and it's not really show-offy, unlike There Will Be Blood.
the visual: eye gasm
the story: emotional
@@bw-xv2rz I think there's a clear argument that constraint does not inform quality. In this case a good analogy would be a piano suite. There are many ways to compose it, but the version with the most notes and complexities won't necessarily be the best. In fact, it's an understood principle that the notes you choose not to play are just as important. There Will Be Blood was a bombastic full orchestra. Phantom Thread was a quartet of virtuosos. Undoubtedly different, but impossible to qualitatively compare. In short, apples and oranges.
Cinematographer denies filming due to schedule
Director : I am going to end this entire career
I love that filming a 'small project' for PTA is a music video for Radiohead. You love to see it.
Indeed, I laughed here. "Well, you know, it's just a small side project"...🤣🤘😎
I saw this movie 3 nights in a row when it came out in theatres. It's one of those movies that changes your life perspective for a brief period of time.
Kubrick would be proud of Paul Thomas Anderson
Samuel Bungo
He’s not his das
Anderson is better
Kubrick was a pretty big fan of Boogie Nights.
windows mizu
I know
@@ruly8153 Okay.
I just rented this from the library a week ago. It's one of my favorite films. The scene at the party when the balloons fall from the ceiling? Magnifique
Are you a PTA fan anyway? Have you seen his other films? I ask as that scene made me think of The Master. I couldn't help but think Anderson was referencing Lancaster Dodd n The Master by having people dressed in over sized animal head costumes. It's a strange scene too, almost hallucinatory, which makes sense when you think Woodcock has been fed mushrooms by Alma.
@@davidlean1060 check out David lean's the Passionate Friends.
How to be a good cinematographer: You hire a good gaffer, camera operator, ACs, DIT and Colourist. Done, ahaha
BTW, 40k already! Congratulations! I remember you had 500+ subs when I subscribed on you. Keep it rolling!
How to be a good director: You hire a good dp, good production designer, makeup designer, costumer designer, etc. done.
@@BombshellCelluloid was going to write the same comment
@@BombshellCelluloid No. If all a director does is hire "good people"... they are by definition, a talent-less hack. The best directors know every aspect of film-making and could basically do every job if they had to (i.e. PTA). Directors who just "hire people", are again, hacks. Allot of working hollywood do fall into this category though... with nepotism, money, connections, ect.
@@Frontigenics Yes, that's obvious. This was a bit of sarcasm to the person claiming that to be a good cinematographer all you had to do was hire the right people. I was being circumspect. I fully well know being a good director is not JUST hiring the right people.
so insightful!! thank you!
This video is extraordinary. To those who fixate on the semantics of the title (“PTA was the cinematographer”), focus on the point and the nuance here. Excellent work.
So in short he himself became a Cinematographer.. so the facts stands that you cannot shoot without a Cinematographer..
This gave me even more admiration for this film.
I was very struck by the relationship and acting when I saw it in the theater.
Not the kind of movie that's typically "fun" to watch multiple times -- but I think it's been long enough I want to watch it again now.
After Every Frame a Painting went away, we need more channels like this studying cinematography and filmmaking.
If anything directors are obsolete. When I first got into filmmaking i was always blown away with the way a movie looks, the smoothness of the camera movement, the effects, the acting, the locations, editing & color grading of a film & used to credit all these things to the director until I understood they don’t do any of those things & it crushed me because I had given them too much credit. Never before has a person watched a movie & said “oh wow I love the way the director of this movie told the actor to cry harder in this scene” or “I love the way the director chose to use a 24mm lens for this shot” lol it never happens but you’ll always hear a person say they love the effects, the locations, the color or the concept of a movie
I agreed with a couple of points you mentioned, but your claim that "directors are obsolete" is just wrong. The director oversees and controls everything; cinematography and acting included. Sure, they might not do these things themselves, but they definitely deserve some credit, as the director makes all the big decisions. To say that they aren't responsible for the camera work, editing, acting and colour grading is incredibly disingenuous.
yeah, and orchestra directors don't deserve credot either because they don't play the instruments themselves, come on
Film directors are very important and I would not dismiss their contribution. However, no directors are the same; some directors like Mike Leigh really work with their actors to craft their performance. Other directors are very technical like Stanley Kubrick. Overall, the director oversees the whole process and utilises the talents of every one to hopefully make the best film possible. Ultimately, film making is a collaborative art, everyone has a part to play: no one is obsolete!
Every project, whatever the field, needs a captain.
I don't usually leave commentaries, but your channel is simply amazing. As a small professional advertising director, I'm super impressed by the technical precision of your commentary, and learning a lot with your videos. Great videos..
Agree with you ;)
It reminds of the controversial music question and it's answer: Are orchestra directors really necessary?
R: No...
But you better be you sure that every single one of your musicians is at the level of one
I disagree. The conductor is responsible for the interpretation of the music, and with dozens of different players there has to be one person in charge .
@@MichaelSBaram I know. I did'nt say that i agree but that there's a parallel
There are orchestras without conductors, and plenty of professional musicians consider that the role of the conductor is no longer needed and is a remnant of archaic practices and conventions. Again, i don't agree completely
A conductor is absolutely necessary! The reason being the size of the stage footprint of a band of musicians that big. Let's say a percussionist, standing right at the back of the orchestra, has a part to play after the first violinist, who stands right at the front. Sound can only travel so fast, so relying on his ears alone, by the time the perc player hears the last notes of the violinist, he will in actual fact be a fraction out of time when he plays himself. This is why classical musicians train so hard, you have to learn to play out of time with what you hear. You have to learn to following the conductor visually acting as the overall time keeper, rather than following the musicians around you. It's only a fraction of a fraction, but an audience would hear that something was wrong.
The difference is with this movie, it’s just one person having enough experience to do another job. In the case of an orchestra, especially a large symphony orchestra, many of the musicians will be capable of conducting well, but the group as a whole may struggle to conduct itself. This can change based on the size of the ensemble and acoustics of the room. A full orchestra of 90 players in a concert hall would struggle to play everything in unison without error, even if many or all of the players can conduct.
I think that this May be the most beautiful movie of PTA. The production design is so accurate, so detailed, that's art at it's best. Every shot looks like an awesome paint.
the master is up there as well, alongside there will be blood..
My favorite director is Paul Thomas Anderson and that's because of the stories he tells. After watching this, which you do a great job at explaining the thought that goes into shooting, I feel as if I want to be that good. I love your videos because they do not discourage creativity but spark it. Thank you for the videos you create.
Well this is basically the same case as Stephen Sodenbergh, he work as Director and Cinematographer. Yes you need Cinematographer because sometimes if you work on 2 sector you could forgot a tiny detail you have made for the movie, and the reason Cinematographer exist is for assisting, providing advice that could enhance the quality of image and the appropriate information they will show inside a frame.
I agree. While cinematographers certainly bring allot to the table... they're mainly in charge of overseeing and executing the directors style. If a director's work would, otherwise, look like garbage without the cinematographer.. then. they shouldn't really be the director.
Thank you so much for this amazing breakdown. Phantom Thread, is my absolute favourite movie with DDL and PTA being my favourite actor and director respectively. As an aspiring writer and filmmaker from South Africa, your videos are immensely insightful and wonderfully produced. Thank you!
Would love a similar breakdown of Alfonso Cuarón’s ROMA
This is really super incredible breakdown....I would comment again after really rewatching the film and getting a deeper understanding
PT Anderson is def one of my fav director ever ! Such a talentuous artist !
Personally I find most of his films boring.
@@bookeblade If you havent seen boogie nights, watch it, it might change your mind
Hey man great content, I don't go to film school so these are my saving grace. Never stop.
By and far my favorite Daniel Day film and Paul Thomas Anderson film. There's something mysteriously incredible that keeps me coming back, and that Jonny Greenwood score is simply god.
Been watching your videos for a while now and while watching this one I doubled checked to see if I was subscribed and realized I wasn't. I've never clicked that sub button faster in my life. The level of detail and work and information in your videos is just unbelievable. Can't believe you are not at a million subs. Thanks so much for what you do in this community.
great video. you broke it down so well
You’re really a gem of RUclips,don’t know how I came across your channel but now I am feeling lucky. Looking for a channel which understand and describe the technical aspects of cinematography and the practical side of film making . Cannot thank you enough!!
So...I've watched that Daydreaming video and immediately I'm filled with warm, fuzzy The Radioheads feelings toward the rest of the video.
My favorite cinematographers that I'd like to see covered, especially since they aren't in the spotlight anymore:
Giorgios Arvanitis
Robby Mueller
Raoul Coutard
Mikhail Krichman
Keep up the good work, thank you!
i've watched a documentary on your first, arvanitis, he was a DIY monster genius working in almost all of angelopoulo's feature films... really impressive stuff...
Here in the states we call, what you refered to as litetiles, "Litemats". Made by Litegear, Litemats come in various sizes as you pointed out, and one of the size is the 4'x8' which is refered to as the litetile. They make a 10'x10' RGB called Aurora.
I know in different Geographies names are different, but the concept is the same.
3:37 that's why I love the look in Danny Boyle's "Steve Jobs"
Another amazing video! And strikingly inspirational to anyone who, on the other end of the spectrum, have only an entry level camera and no budget for a DP: master your craft and work with your team. Because in the end of the day, it's not about how expensive your gear is, it's about being able to build your view on a screen.
Thank you so very much for your channel. It’s quickly becoming one of my favorite channels on learning about cinematography. I’m amazed at how much content you’ve pumped out so fast! Thanks for helping us see stories better!
Really glad you made a video on this! Once I watched Roma I always wondered if there had to be a DP and if I could be DP/Director.
I love cinematography but i also love directing and i never liked having to answering to the director and i feel like if i hired a cinematographer all they would do is choose gear and lighting
That's your perception... if you go with this philosophy from the beginning then yeah, maybe don't work with a DOP. But filmmaking is a team effort at the core. I you feel like you have to "answer" the director instead of making the film with them, that sucks. However, that doesn't mean you should avoid working with a cinematographer. Most directors would totally be able to shoot their own films, and probably did shoot some as well. However, in all cases, you have to work on your teamwork skills to make movies. Whether it follows the traditional hierarchy or not, you will work with a crew, even in it's most minimal form.
I'm curious to know your opinion on Steven Soderbergh, who no only shoots his films but edits them as well.
Thank you for sharing! So happy getting a technical look into the film, to be able to put its beauty into words with proper understanding is something to treasure!
Great video, your analysis of the filmmaking on such a technical level is really helpful.
I greatly appreciate the in depth look at my craft. I think your insights and detail on PTA's methodology are thoughtful and accurate. I have only one thing I would like to add, which this idea that there is "no cameraman" on a job is inaccurate. PTA is the cameraman, he may chose to go unaccredited for many reasons, but the truth is the job of shooting a movie starts long before day one of filming. Someone has to make a LOT of decisions about locations, costumes, colors, set design, scheduling, equipment orders, lighting packages, grip packages, crew hiring, etc, etc. These are all part of being the DOP or cameraman on any project. There is always a cinematographer, its just part of the process and in the case of PTA, you are absolutely correct, he is one of the few directors that has the knowledge and the smarts to be the DOP as well. So he did. (it is also a tricky union issue which makes it very difficult to actually pull this off)
This is why I love grain in video.
When I movie is too clean and crisp and bright, it takes me right out
Oh, I’m so glad you did a video on this movie! I watched it a week ago while it was up on peackock and was in awe of cinematography and acting in this movie! Thank you!
I just found your channel, and how nice that I did. Your analysis is at a very high level, at least for the layperson like me. Thank you for your fine effort.
What are some other films that you'd like to see broken down?
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Excellent analysis as always! This film has been a source of conversation and debate between myself and another director, who i just shared your video with. we're still arguing about how the team achieved the naturalistic shake and rumble of the car scenes with the car itself being so distorted. I'm arguing that it was shot with extremely wide lenses and the camera mounted without a stabiliser, probably to reflect the rough riding of the cars from that era. We can't find any information to prove it though!
If you haven’t watched this.....ruclips.net/video/kpi393XkzUo/видео.html
They discuss the car at some point in the video, but I find the entire conversation to be essential knowledge.
@@parkereisen3702 Awesome! Will check it out!
@@parkereisen3702 Found it 56min in! Exactly what I thought! Thank you!
Man, this was fascinating. I was unaware filmmaking was this complex.
You should check out the Making of Magnolia. Just search for 'That Moment'. It'll give you an insight into just how much work went into that 3 hour movie.
Fantastic, informative video, the level of detail you discuss is mind-blowing
After first seconds of the video I knew that you, sir, have earned my subscription. Love the style!
How I love this film. PTA had a major part in the photography and everything else about the production (with music and costume specialists).
You shined an entirely new light on the beauty this film provides. Incredible video!
I just came across your channel and subscribed immediately. I love the way you breakdown and explanation how PTA went about shooting his own film. Keep up the great work!
Without a doubt my new favourite youtube channel! Love your work
One of my favourite films from probably my favourite director. Absolutely astounding cinematography
Happy to watch your explanation something learning from us.
I love this film. Really love the photography as well. PTA is good at that. All his films are beautifully shot
Amazing photography. I loved the use of lighting for each scene. It set the mood.
Love your work. Thanks so much for sharing these videos. They're a wonderful resource for someone (like me) who has very little technical knowledge. PTA's a gem.
/ Thread (2017)
0:00 Introduction
1:13 Forming The Team
2:27 Pre-Production
5:27 Production
8:47 Are Cinematographers Necessary
Thank you for this, great work as usual! Another suggestion - I'd love to get a look at Łukasz Żal's process. His frames are always so dynamic.
This was fascinating. Thank you for the intelligent and in depth breakdown of the incredible work the entire team put into this movie.
Watched the film twice and loved it!! This video made me appreciate it even more! Great work xx
This is a fantastic behind the scenes look on filming. Thank you.
This is honestly the coolest thing ever, knowing how movies are actually made.
Great video - a lot of the camera details went over my head, but you made the technical aspects interesting and engaging. Thank you 👍
I was always blown away by the beauty of this movie cinematography, couldn't imagine there no DoP in it! Very interesting video, thank you!
Fabulous Video! Thank you for sharing it! Very Best Regards, Philip
Such a great resource to have access to these vids , thank you In Depth Cine
Mi mamá me dio la vida, In Depth Cine, las ganas de vivirla
Beautiful video. Thank you for all of your work
Two of my favorite movies are There will be blood and The master. PTA might do ok without a dedicated DOP but let's be honest here: I can cut my own hair but it sure won't look like a professional haircut. The man is a brilliant writer and director and a surprisingly competent DOP too, but he should pair his talent with a DOP's, it just makes sense. You could try to do everything yourself but you would only do that out of necessity, not because it's the best way to shoot movies.
I didn't even know I needed a channel like this. Amazing.
Wonderful analysis, thanks for the insights!
As usual, beautifully crafted analysis. I can't help but notice the interlacing in your videos. Perhaps it could be an easy fix within your export settings?
What fascinating look at one of my favorite films, terrific work!
...and what a wonderful job PTA did on the film too. What I enjoy most about PTA is his ability to change. Would you think the guy that made Magnolia, with it's famous one take shot that lasts 5 or more minutes is the same man that made the still and poised Phantom Thread? Easily my favorite living film maker.
What a champ, love PTA. I loved the look of this film
Could you make a video on Camera Operating sometime in the future? Like explaining in detail the role of Camera Operators on set and operating different cameras (ARRI, Panavision, Canon, etc.). Thanks.
Good idea! Thanks. I'll add that suggestion to my list.
What an amazing piece of work you created here! Thank you so much.
If I may add one note of constructive criticism here: At some point during the Pre-Production segment I started to notice that there's a certain way that you read the sentences in your script, with stressing important words by raising the tone (you could even say the musical note) of that word. Especially when you talked about the film stocks and the lenses PTA tried out for the movie, it became an almost sing-songy way of transmitting the information that took me out of story you were trying to tell. I then went back to the start of the video. It's there too, but less pronounced, because there were less words you wanted to stress there. So it seems that the Pre-Production segment made it stand out more because of the many lines where the words gets stressed by reading them in a higher tone.
I guess what I'm trying to say is: Try to find alternative ways to read out your script and lines, so you can alternate them with your current reading style. Or read some of them a bit flatter (for ex. the Coatings line with Warm Veiling Glare Highlights Bloom Soft Skin Tones) since the information is already on screen. It breaks the melodic 'rut' and also helps the other sentences around it.
Please don't get overly focused on my remarks. It's just when there's a group of sentences with lots of words you want to make stand out more, it starts to fall apart a bit. That way of reading your lines then becomes almost rhythmic and melodic, which then distracts from the message you're trying to convey.
And boy is it a great message. 💖
So Awesomely done. please keep on making these videos. youre the best.
Amazing, so glad i found your channel, loving the content.
It had a cinematographer, PTA and Michael Bauman were just humble enough not to take credit. Both could have been co-credited but I think guilds would have argued that.
Honestly...so good. Your content is first class.
Fantastic channel - such an amazing resource! Thank you!
I’m convinced if Anderson had called himself DP on Phantom Thread he would’ve won the Oscar (or at least been nominated)
I think he respected the work of an cinematographer enough to not take complete credit away. And since he still had a film crew to work with,I think he would've put them above him in receiving cinematography credit if he had the chance. Besides the look of Phantom Thread didn't deviate much from Elswit's style whenever he collaborates with him.
Cuaron on the other hand...
Just kidding (sort-of)
shows his humility that Cuaron lacked thereof. Sure he is a master and probably was responsible for a large chunk of the look of Roma, still in his Oscar acceptance speech he didn't even have the grace to mention his camera crew like Ollivares. Ah well, who knows what happened behind the curtain there..
Best channel on cinematography!!!
Loved the analysis. Excellent work as always. Please make a video " Cinematography breakdown for INCEPTION".
You are a revelation IDC! thank you,
The first time I watched this movie I was taken back by the beauty of it. When I saw it a 2nd time the beauty never left, and I was smiling all the way through it.
The film's a laugh at times. The theatre I saw it in, the audience, myself included, where laughing all the way through!
@@davidlean1060 Right. Daniel Day Lewis is unintentionally hilarious with his moody quirks and one liners. He should've gotten some writing credit because he brought a lot of ideas to the film.
@@Onmysheet The quirks are unintentional on Woodcock's behalf, but Day Lewis deliberately plays him that way. Anderson and Day Lewis collaborate very well, so no doubt they discussed this aspect of Woodcock long before shooting began.
maaan so beautiful thanks so much ❤❤
Very good point at the end. Not everyone can afford not having a DP
When I loved watching movies, I used to love PTA's movies. Nowadays, especially the last two of his movies I didn't like em much. But I think may be I've lost it to appreciate.
Honestly love these videos. So helpful in understanding different cinematographers processes. It would be cool if you could do a video on peter andrews aka steven soderbergh.
This is one of your most informative video yet!
damn! pure knowledge and great insights - no freakin click baits. thanks man! :)
weirdly, i left phantom thread feeling like it was very pretty but lacking in any lasting visual impact, and i thought it was very disappointing in that aspect compared to the rest of PTA's library
only later did i learn that elswit was not involved; it felt like the cinematography was lacking a naturalism or character somehow