while I agree that the batman's cinematography was neat and I do like the digital tech they got to experiment with, I think decision to leave deserves a spot more than the Batman
@@alexfrank5336 Decision to Leave is definitely one of the best shot films of last year and did deserve it. But The Batman is one of the best shot films ever. As Deakins says here in this interview, it is a visual masterpiece.
TIMESTAMPS 01:12 🦇 Greig Fraser chose to work on "The Batman" primarily because of his strong friendship with director Matt Reeves and Matt's clear vision for the film. 03:22 🎥 The extensive pre-production for "The Batman" included two years of discussions between Greig Fraser and Matt Reeves, allowing them to develop visual ideas and plan the film meticulously. 07:18 🚗 The intricate car chase scenes in the movie were carefully coordinated between the main unit and the second unit, with a focus on capturing the raw and immediate feel of the action. 11:04 🎥 Greig Fraser and the team used a combination of specially modified cameras, including old Elexis cameras, to achieve shots that felt risky and immediate during the car chase sequences. 19:12 🎬 Maintaining a consistent visual style throughout the film, despite shooting various elements in different locations and with different units, was a significant challenge that required close collaboration and attention to detail. 22:51 🌆 The choice of locations for "The Batman" included Liverpool, Glasgow, and Chicago, with extensive scouting and preparation to create the fictional Gotham City. The crew was primarily UK-based. 23:36 🎬 On the set of "The Batman," the production faced challenges due to the COVID-19 pandemic, with strict safety measures in place, including isolating crew members and limiting movement. 25:01 📸 Scouting and previsualization played a significant role in shooting "The Batman" during the pandemic. They used 3D cameras and technology to scout locations remotely and plan shots meticulously. 27:09 🌆 The LED volume, a significant technology innovation, allowed for shooting with consistent lighting conditions, which is challenging with traditional filming. It required collaboration between the cinematographer and the VFX team. 29:28 💡 Shooting on the LED volume was preferred over blue screen for its ability to provide realistic lighting and interactive reflections, improving the quality and authenticity of the scenes. 36:07 🎥 The decision to shoot "The Batman" digitally instead of on film was made to achieve precise control over lighting and visual consistency, ensuring that every shot fit seamlessly into the film's narrative. 38:09 🌇 Backgrounds for the rooftop scenes in "The Batman" were created in 3D, allowing for precise control over the time of day and lighting conditions to enhance the emotional impact of the scenes. 42:45 👤 The use of computer-generated actors in film, though advancing rapidly, raises concerns about the ethical and creative implications, potentially changing the landscape of filmmaking in the future. 45:05 🧠 Cinematographers should embrace and understand emerging technologies, such as LED volumes and 3D environments, to maintain their role as visionaries and ensure their influence in shaping the future of filmmaking. 47:25 🎥 Cinematographer Greig Fraser discusses the integration of technology in filmmaking, using "The Batman" as an example. 48:03 🌆 He talks about a specific scene in "The Batman" where they used a gray screen as a backdrop, highlighting its versatility in creating backgrounds and environments. 49:12 ❄ Fraser explains that extreme cold weather during filming affected the actors' performance and how they worked around it by shooting certain elements on stage. 49:41 🌈 The use of gray screens became a valuable tool on set, allowing for easier keying and adjustments in post-production. 51:29 🌧 Fraser discusses a past experience of shooting in a desert with black smoke and rain, emphasizing the incredible capabilities of visual effects in post-production. 52:50 🔥 Fraser talks about the mix of practical and CG elements in action sequences and how some shots in "The Batman" were seamlessly integrated. 53:19 🦇 He mentions that the cape in certain shots of Batman was replaced with CGI to achieve the desired look and movement. 56:07 🎞 Fraser discusses the film-out process and how they controlled the resolution and look of the film to maintain a consistent visual style. 57:02 💡 The discussion touches on how different eras of filmmaking had unique challenges and how technology has evolved over time. 59:23 🎥 The conversation explores the importance of adapting technology to the specific needs of each project rather than using it for the sake of it. 01:02:20 📽 The conversation reflects on how the choice of lenses and equipment can impact the visual storytelling of a film. 01:05:59 🎬 They discuss the balance between using advanced technology and staying true to the film's narrative and the era it represents. 01:09:16 🏟 Greig Fraser talks about the challenges of shooting a large-scale scene for "The Batman" and how COVID-19 impacted their location choices, leading to building a set in Cardington. 01:10:23 🌆 Greig Fraser discusses the extensive lighting setup used in a scene that resembled Chicago, using numerous small LED lights to create a dynamic Sky Dome effect. 01:12:01 🎥 Matching the color temperature and lighting level on set allowed them to maintain consistency and flexibility for dusk scenes, enhancing their control over the lighting conditions. 01:15:47 🤝 Greig Fraser emphasizes the importance of effective collaboration with the gaffer and the crew to achieve the desired lighting effects while avoiding unwanted bounce. 01:21:11 💡 Greig Fraser discusses his preference for using fluorescent lighting fixtures to achieve a specific look, even when LED options are available, due to their unique qualities. 01:23:56 🚗 Fraser talks about the choice of lighting fixtures on set and how practical lights, especially fluorescent ones, played a crucial role in creating the desired ambiance. 01:31:02 🌟 Greig Fraser appreciates the natural decay of tungsten lights when dimmed, which is challenging to replicate with LEDs, adding character and warmth to the lighting design. 01:32:34 💡 The discussion touches on various LED lighting options, with a mention of the Philex LED, which offers a strong output akin to traditional 2K or 5K lights. 01:33:17 🎥 When shooting scenes for "The Batman," cinematographer Greig Fraser used practical lights with the ability to dim, providing more control over lighting, which was advantageous for creating mood and atmosphere. 01:34:24 🎬 On "The Batman," there were two camera teams, but they rarely used two cameras simultaneously, maintaining a precise and deliberate shooting style for the dramatic scenes. 01:35:07 🎨 Greig Fraser and his team had a robust crew of DP collaborators, allowing them the time and resources to capture various shots, including pickups, inserts, and complex scenes. 01:36:20 🌧 In "The Batman," they faced the challenge of shooting a scene involving a light bulb exploding and water bubbling on the surface. Fraser Rigg, an experienced assistant, conducted research and tests to achieve this effect, highlighting the importance of having the resources for such detailed work on a big-budget film. 01:37:16 💼 "The Batman" had a shooting schedule of 100+ days, with interruptions due to COVID-19. Managing post-COVID production was like "wading through mud," with additional precautions and restrictions in place. 01:38:41 🎬 Greig Fraser appreciates both the intimacy and simplicity of small-scale films and the complexity of larger productions. Ultimately, the script, actors, and camera are the most critical elements, and the rest of the technology and equipment should enhance the storytelling. 01:41:53 🤝 Building the right crew is essential. Crew members should have a positive, can-do attitude and be compatible with the project's goals. Ego and personality clashes can be detrimental to the filmmaking process. 01:45:29 🎥 When shooting on a volume (virtual production set), collaboration with the visual effects department is crucial to achieve the desired results. While Greig Fraser focuses on lighting and practical elements, the VFX team handles what appears on the screens. 01:49:41 🌆 To achieve the dark and moody look in "The Batman," they rated the Alexa camera at lower ISOs, such as 320 or 250, to retain highlight detail and achieve rich blacks. Minor adjustments were made in post-production for highlights and shadow detail. 01:55:26 📷 Greig Fraser mentions Ansel Adams' Zone System and how he applies a similar concept in cinematography by adjusting camera ISO settings to control exposure and achieve a desired range of tones in the final image. This technique is used to maintain detail in highlights and shadows. 01:56:34 🎥 Cinematographers, like Greig Fraser, find it crucial to stay involved in post-production to ensure the film's visual elements remain cohesive. 01:57:41 📽 Designers, like DPs, should stay involved in post-production to maintain the continuity and quality of the visual elements. 01:58:54 💡 DPs believe that being actively involved in post-production enhances the overall quality and consistency of the film. 02:00:00 🎬 DPs feel that they should have input on 3D shots in post-production to maintain the film's visual integrity. 02:01:24 🎬 The cinematographer's involvement in post-production can positively impact the film's final look and consistency. 02:03:30 🎥 Shooting with shallow depth of field in a virtual volume can be challenging, and wider lenses may not achieve the desired effect. 02:05:29 🦇 Cinematographer Greig Fraser explains the challenges of lighting scenes with actors wearing heavy costumes, like the Bat Suit. 02:07:52 🏙 Greig Fraser discusses the potential of using technology for remote location scouting and its impact on the pre-production process. 02:14:15 🌍 While technology can enhance efficiency in filmmaking, it may take away from the unique experiences and insights gained from in-person location scouting. 02:16:02 🎥 The discussion on how technology impacts filmmaking processes continues.
You guy’s work is the reason I’m pursing a career in film. Prisoners and Blade Runner 2049 showed me the possibilities of what cinema could be. Thank you and keep up the amazing work!
@@teamdeakinsReal thanks so much for this conversation! i made a video all about Greig's work on the film shortly after it came out, and I almost think I should do a part two with all of this new info! ruclips.net/video/STynLl-2FqU/видео.html
Batman was the best Visually of all the films that came out. Fraser has done astonishing work so far including Dune. Great stuff, thank you. Deakins is the best and I hope your channel grows.
I love when Roger gets excited about something and Greg's reaction. It's so nice to see this unbroken natural connective sort of interview back and forth format. Wonderful content thanks very much!
Love the video format, I've been listening on Spotify for quite a while, nice to see some faces as well! Nice to see some additions as well seeing as we already had a Greig epsiode! I'm always up for more, thank you for this podcast and channel!!
@@korovamilkbar8527 well not sure about that. I would argue that Dune is more challenging on a concept level. With the Batman you immediately tie yourself to night, dark gothic like atmosphere and all comes from there. Dune? You have to figure out a lot lot more
I just love that they used rehoused Soviet lenses with anamorphic bokeh adapters and 1st gen Alexa’s off eBay to nail that car chase scene. The bleached recolorcorrected ip to finalize the look is very interesting and beyond cool as well! Great interview as always 👏
This was absolutely fantastic. Love how deep you dove and love how candid the conversation was. Would love to see more videos like this. Thanks for this and thanks for the terrific podcast, you are making valuable information easily accessible to filmmakers, enthusiasts and the next generation
Omg! Is that Roger "The Legendary" Deakins co-hosting this show?! Thank you, RUclips algorithm for sending me to this channel 🙏🏼 Thank you, team Deakins for taking the time to share this wonderful knowledge 😁 Subscribed! ✅
Great video. You, Greg, Chivo are the reasons why I’m pursuing a career in this industry. You guys are 🐐. Will you do a video with Chivo or Jarin Blaschke in the future? Blaschke is a great up and coming DOP. Loved his work on The Lighthouse and The Northman. Chivo work on Revenant and Birdman are great also.
loved this conversation. loved it more than the film itself which unfortunately collapses in on itself in the final act after a great first two hours. was that red flare shot really worth the story contrivances that got them there? it does look nice though.
If you set the ASA on an alexa below 800, you get more detail in the shadows. Sounds counterintuitive but thats how the dynamic range shifts when you change ASA.
Could you have him back for The Creator? Would love to have all your DPs go through their hardest shots to make? How they solved the hard problems. And anatomy of a shot. Thanks
I'm personally not a big fan of The Batman in terms of the casting and acting. However, it is one of the best looking films I've ever seen. Greig and the team did an amazing job shooting it. I didn't notice a single shot that had CGI and for a superhero film in 2022-2023 that is incredible.
The discussion about A.I. and it's ethics is so interesting and unbelievably scary. Those A.I. scripts, movies and performances are just disgusting in my opinion. It's all about the human hand in it, how can you shut it out? What will happen to art and artists? Will it just be whoever can input the best description? Can someone ease my mind?😂
@@GellertTV He should be sued for endagering lives. Not sure how the insurance would even hold up on a production with that kind of disregard for safety.
This is insane. Roger Deakins podcasting Greig Fraser ... the world is a wonderful place !
The Batman not getting an academy award nomination for cinematography is downright criminal.
Agreed. Banshees of Inisherin not getting a best cinematography nom also pissed me off.
Also top gun
while I agree that the batman's cinematography was neat and I do like the digital tech they got to experiment with, I think decision to leave deserves a spot more than the Batman
@@alexfrank5336 Decision to Leave is definitely one of the best shot films of last year and did deserve it. But The Batman is one of the best shot films ever. As Deakins says here in this interview, it is a visual masterpiece.
@@alexfrank5336 Decision to leave got snobbed on best foregin film
TIMESTAMPS
01:12 🦇 Greig Fraser chose to work on "The Batman" primarily because of his strong friendship with director Matt Reeves and Matt's clear vision for the film.
03:22 🎥 The extensive pre-production for "The Batman" included two years of discussions between Greig Fraser and Matt Reeves, allowing them to develop visual ideas and plan the film meticulously.
07:18 🚗 The intricate car chase scenes in the movie were carefully coordinated between the main unit and the second unit, with a focus on capturing the raw and immediate feel of the action.
11:04 🎥 Greig Fraser and the team used a combination of specially modified cameras, including old Elexis cameras, to achieve shots that felt risky and immediate during the car chase sequences.
19:12 🎬 Maintaining a consistent visual style throughout the film, despite shooting various elements in different locations and with different units, was a significant challenge that required close collaboration and attention to detail.
22:51 🌆 The choice of locations for "The Batman" included Liverpool, Glasgow, and Chicago, with extensive scouting and preparation to create the fictional Gotham City. The crew was primarily UK-based.
23:36 🎬 On the set of "The Batman," the production faced challenges due to the COVID-19 pandemic, with strict safety measures in place, including isolating crew members and limiting movement.
25:01 📸 Scouting and previsualization played a significant role in shooting "The Batman" during the pandemic. They used 3D cameras and technology to scout locations remotely and plan shots meticulously.
27:09 🌆 The LED volume, a significant technology innovation, allowed for shooting with consistent lighting conditions, which is challenging with traditional filming. It required collaboration between the cinematographer and the VFX team.
29:28 💡 Shooting on the LED volume was preferred over blue screen for its ability to provide realistic lighting and interactive reflections, improving the quality and authenticity of the scenes.
36:07 🎥 The decision to shoot "The Batman" digitally instead of on film was made to achieve precise control over lighting and visual consistency, ensuring that every shot fit seamlessly into the film's narrative.
38:09 🌇 Backgrounds for the rooftop scenes in "The Batman" were created in 3D, allowing for precise control over the time of day and lighting conditions to enhance the emotional impact of the scenes.
42:45 👤 The use of computer-generated actors in film, though advancing rapidly, raises concerns about the ethical and creative implications, potentially changing the landscape of filmmaking in the future.
45:05 🧠 Cinematographers should embrace and understand emerging technologies, such as LED volumes and 3D environments, to maintain their role as visionaries and ensure their influence in shaping the future of filmmaking.
47:25 🎥 Cinematographer Greig Fraser discusses the integration of technology in filmmaking, using "The Batman" as an example.
48:03 🌆 He talks about a specific scene in "The Batman" where they used a gray screen as a backdrop, highlighting its versatility in creating backgrounds and environments.
49:12 ❄ Fraser explains that extreme cold weather during filming affected the actors' performance and how they worked around it by shooting certain elements on stage.
49:41 🌈 The use of gray screens became a valuable tool on set, allowing for easier keying and adjustments in post-production.
51:29 🌧 Fraser discusses a past experience of shooting in a desert with black smoke and rain, emphasizing the incredible capabilities of visual effects in post-production.
52:50 🔥 Fraser talks about the mix of practical and CG elements in action sequences and how some shots in "The Batman" were seamlessly integrated.
53:19 🦇 He mentions that the cape in certain shots of Batman was replaced with CGI to achieve the desired look and movement.
56:07 🎞 Fraser discusses the film-out process and how they controlled the resolution and look of the film to maintain a consistent visual style.
57:02 💡 The discussion touches on how different eras of filmmaking had unique challenges and how technology has evolved over time.
59:23 🎥 The conversation explores the importance of adapting technology to the specific needs of each project rather than using it for the sake of it.
01:02:20 📽 The conversation reflects on how the choice of lenses and equipment can impact the visual storytelling of a film.
01:05:59 🎬 They discuss the balance between using advanced technology and staying true to the film's narrative and the era it represents.
01:09:16 🏟 Greig Fraser talks about the challenges of shooting a large-scale scene for "The Batman" and how COVID-19 impacted their location choices, leading to building a set in Cardington.
01:10:23 🌆 Greig Fraser discusses the extensive lighting setup used in a scene that resembled Chicago, using numerous small LED lights to create a dynamic Sky Dome effect.
01:12:01 🎥 Matching the color temperature and lighting level on set allowed them to maintain consistency and flexibility for dusk scenes, enhancing their control over the lighting conditions.
01:15:47 🤝 Greig Fraser emphasizes the importance of effective collaboration with the gaffer and the crew to achieve the desired lighting effects while avoiding unwanted bounce.
01:21:11 💡 Greig Fraser discusses his preference for using fluorescent lighting fixtures to achieve a specific look, even when LED options are available, due to their unique qualities.
01:23:56 🚗 Fraser talks about the choice of lighting fixtures on set and how practical lights, especially fluorescent ones, played a crucial role in creating the desired ambiance.
01:31:02 🌟 Greig Fraser appreciates the natural decay of tungsten lights when dimmed, which is challenging to replicate with LEDs, adding character and warmth to the lighting design.
01:32:34 💡 The discussion touches on various LED lighting options, with a mention of the Philex LED, which offers a strong output akin to traditional 2K or 5K lights.
01:33:17 🎥 When shooting scenes for "The Batman," cinematographer Greig Fraser used practical lights with the ability to dim, providing more control over lighting, which was advantageous for creating mood and atmosphere.
01:34:24 🎬 On "The Batman," there were two camera teams, but they rarely used two cameras simultaneously, maintaining a precise and deliberate shooting style for the dramatic scenes.
01:35:07 🎨 Greig Fraser and his team had a robust crew of DP collaborators, allowing them the time and resources to capture various shots, including pickups, inserts, and complex scenes.
01:36:20 🌧 In "The Batman," they faced the challenge of shooting a scene involving a light bulb exploding and water bubbling on the surface. Fraser Rigg, an experienced assistant, conducted research and tests to achieve this effect, highlighting the importance of having the resources for such detailed work on a big-budget film.
01:37:16 💼 "The Batman" had a shooting schedule of 100+ days, with interruptions due to COVID-19. Managing post-COVID production was like "wading through mud," with additional precautions and restrictions in place.
01:38:41 🎬 Greig Fraser appreciates both the intimacy and simplicity of small-scale films and the complexity of larger productions. Ultimately, the script, actors, and camera are the most critical elements, and the rest of the technology and equipment should enhance the storytelling.
01:41:53 🤝 Building the right crew is essential. Crew members should have a positive, can-do attitude and be compatible with the project's goals. Ego and personality clashes can be detrimental to the filmmaking process.
01:45:29 🎥 When shooting on a volume (virtual production set), collaboration with the visual effects department is crucial to achieve the desired results. While Greig Fraser focuses on lighting and practical elements, the VFX team handles what appears on the screens.
01:49:41 🌆 To achieve the dark and moody look in "The Batman," they rated the Alexa camera at lower ISOs, such as 320 or 250, to retain highlight detail and achieve rich blacks. Minor adjustments were made in post-production for highlights and shadow detail.
01:55:26 📷 Greig Fraser mentions Ansel Adams' Zone System and how he applies a similar concept in cinematography by adjusting camera ISO settings to control exposure and achieve a desired range of tones in the final image. This technique is used to maintain detail in highlights and shadows.
01:56:34 🎥 Cinematographers, like Greig Fraser, find it crucial to stay involved in post-production to ensure the film's visual elements remain cohesive.
01:57:41 📽 Designers, like DPs, should stay involved in post-production to maintain the continuity and quality of the visual elements.
01:58:54 💡 DPs believe that being actively involved in post-production enhances the overall quality and consistency of the film.
02:00:00 🎬 DPs feel that they should have input on 3D shots in post-production to maintain the film's visual integrity.
02:01:24 🎬 The cinematographer's involvement in post-production can positively impact the film's final look and consistency.
02:03:30 🎥 Shooting with shallow depth of field in a virtual volume can be challenging, and wider lenses may not achieve the desired effect.
02:05:29 🦇 Cinematographer Greig Fraser explains the challenges of lighting scenes with actors wearing heavy costumes, like the Bat Suit.
02:07:52 🏙 Greig Fraser discusses the potential of using technology for remote location scouting and its impact on the pre-production process.
02:14:15 🌍 While technology can enhance efficiency in filmmaking, it may take away from the unique experiences and insights gained from in-person location scouting.
02:16:02 🎥 The discussion on how technology impacts filmmaking processes continues.
You guy’s work is the reason I’m pursing a career in film. Prisoners and Blade Runner 2049 showed me the possibilities of what cinema could be. Thank you and keep up the amazing work!
Thanks!
the batman is so beautiful
It really is. Greig's work is amazing. And even more amazing when you learn how it was accomplished!
@@teamdeakinsReal thanks so much for this conversation! i made a video all about Greig's work on the film shortly after it came out, and I almost think I should do a part two with all of this new info! ruclips.net/video/STynLl-2FqU/видео.html
Batman was the best Visually of all the films that came out. Fraser has done astonishing work so far including Dune. Great stuff, thank you. Deakins is the best and I hope your channel grows.
I love when Roger gets excited about something and Greg's reaction. It's so nice to see this unbroken natural connective sort of interview back and forth format. Wonderful content thanks very much!
This was incredibly interesting. My 2 faves together talking Film!!! Thanks James for putting this together! Blessings and more please!!!
Love the video format, I've been listening on Spotify for quite a while, nice to see some faces as well! Nice to see some additions as well seeing as we already had a Greig epsiode! I'm always up for more, thank you for this podcast and channel!!
Wish you did this with Greig for Dune
This movie is honestly more impressive though I think
I've asked him if we can do a second one. on Dune!
@@teamdeakinsReal amazing. Can I just express my and all of our gratitude for doing this. We love it. So insightful and inspiring
Yes!!
Please
@@korovamilkbar8527 well not sure about that. I would argue that Dune is more challenging on a concept level. With the Batman you immediately tie yourself to night, dark gothic like atmosphere and all comes from there.
Dune? You have to figure out a lot lot more
I just love that they used rehoused Soviet lenses with anamorphic bokeh adapters and 1st gen Alexa’s off eBay to nail that car chase scene. The bleached recolorcorrected ip to finalize the look is very interesting and beyond cool as well! Great interview as always 👏
Amazing interview. Thank you for sharing such valuable insights! So many topics covered through the various questions. Thank you.
This was absolutely fantastic. Love how deep you dove and love how candid the conversation was. Would love to see more videos like this. Thanks for this and thanks for the terrific podcast, you are making valuable information easily accessible to filmmakers, enthusiasts and the next generation
Such a great conversation, thank-you for answering my question too!
Thanks for putting this up. Two of my favourite cinematographers talking about my favourite movie. Love from India 🇮🇳
Roger Deakins is my favorite cinematographer. I loved his work on "Skyfall," which is my favorite spy film of all time. "1917" was great, too.
This was fantastic. Thank you to all of you! This is extremely resourceful for an aspiring cinematographer like me! 👍👍
Great to hear!
Amazing. Thank you
Omg! Is that Roger "The Legendary" Deakins co-hosting this show?! Thank you, RUclips algorithm for sending me to this channel 🙏🏼 Thank you, team Deakins for taking the time to share this wonderful knowledge 😁 Subscribed! ✅
Thank you for doing this!
Really looking forward to dune episode especially after this amazing discussion. Thank you team deakins & Greig.
Great video. You, Greg, Chivo are the reasons why I’m pursuing a career in this industry. You guys are 🐐. Will you do a video with Chivo or Jarin Blaschke in the future? Blaschke is a great up and coming DOP. Loved his work on The Lighthouse and The Northman. Chivo work on Revenant and Birdman are great also.
We've spoken with Jarin on a podcast episode. And we've asked Chivo many times to join us but so far, no success.
@@teamdeakinsReal I love that you're responding to comments. It's great to see you guys chatting with the little guys too. Cheers
Fascinating conversation guys! Thank you for sharing the process! All the best from Lisbon, Portugal!
We had fun as well!
He works the bottom half of the grayscale really well.
loved this conversation. loved it more than the film itself which unfortunately collapses in on itself in the final act after a great first two hours.
was that red flare shot really worth the story contrivances that got them there? it does look nice though.
This was enlightening. Thank you very much!
Greig is so interesting that it was a lot of fun!
Love the interview!
wow what a treat. thank you
I’m still a bit confused about the exposure Greig used in this film. At 1:56:00 would love love a bit more explanation. Thanks :)
If you set the ASA on an alexa below 800, you get more detail in the shadows. Sounds counterintuitive but thats how the dynamic range shifts when you change ASA.
Gamers as a pejorative!? I kid. Thanks very much for that interview. Lovely to hear the thought process.
This is fascinating 👍
Could you have him back for The Creator? Would love to have all your DPs go through their hardest shots to make? How they solved the hard problems. And anatomy of a shot. Thanks
James is ready to sing 🎤 🪩😄
blessings!
Make another part with greg fraser about doing the creator
I'm personally not a big fan of The Batman in terms of the casting and acting. However, it is one of the best looking films I've ever seen. Greig and the team did an amazing job shooting it. I didn't notice a single shot that had CGI and for a superhero film in 2022-2023 that is incredible.
The discussion about A.I. and it's ethics is so interesting and unbelievably scary.
Those A.I. scripts, movies and performances are just disgusting in my opinion. It's all about the human hand in it, how can you shut it out? What will happen to art and artists? Will it just be whoever can input the best description? Can someone ease my mind?😂
thanks but too much reverb...
Getting a very anti-VFX vibe from Deakins!
Not at all!!
Lord lady turn the reverb down.
They not even in the same league Team Deakins -> TOP.
This dude clearly said he ruisked peoples lives with the dangerous camera rigs and driving. Shame on him.
Bruh
@@GellertTV He should be sued for endagering lives. Not sure how the insurance would even hold up on a production with that kind of disregard for safety.