I love it when a DP is completely absorbed onto a project. How they live and feel the vision. This man is an inspiration, thank you Cooke for the spotlight.
Bradford Young and Geoff Boyle are my two favorite people on this channel. They are both great at explaining not only the "how" but the "why"... and both have a great inspirational tone.
To clarify, Bradford Young did not shoot Arrival with the Canon K35s. He used the Camtec Ultra Primes (Arri/Zeiss Ultra Primes with recoated glass--for softer contrast and more flare--they open up to T1.9) and Zeiss Super Speeds (Mark II or III--not sure which one Bradford used--these open up to a T1.3).
I've been bingeing these videos for days and I'm glad to also see some diversity in the people you work with. Great contributions from Bradford Young. Looking forward to see even more diversity on this platform; would really love to have more insight from women
Gracias, Bradford Young! Me ayudaste a encontrarme, me ayudaste a encontrar lo que busco. Ahora sé en que concentrarme. Felicidades, tu trabajo es excelente!!
I thought if they are dark in real life, then they should appear the same on screen. So you just expose the same way for any skin color, kinda neutral way. Especially if you have several different skin tones in the frame. Or the dynamic range issue plays role here?.. That's interesting.
The difficulty is about a stop difference between lighter skin tones and black skin tones. You might need a larger softer source or more light on a black actor vs a white actor in the same frame. Dark skin tones are some of the best to light. The light loves it.
This was a really good episode! I just wish Bradford would pick up his voice a bit, he always sounds like he's trying to talk lower than he's capable haha
I love it when a DP is completely absorbed onto a project. How they live and feel the vision. This man is an inspiration, thank you Cooke for the spotlight.
Most underrated cinematography in the last years. Every shot is a masterpiece.
Bradford breaks down the importance of focal length in this video.
This is essential information every DP should know 👌
Bradford Young and Geoff Boyle are my two favorite people on this channel. They are both great at explaining not only the "how" but the "why"... and both have a great inspirational tone.
To clarify, Bradford Young did not shoot Arrival with the Canon K35s. He used the Camtec Ultra Primes (Arri/Zeiss Ultra Primes with recoated glass--for softer contrast and more flare--they open up to T1.9) and Zeiss Super Speeds (Mark II or III--not sure which one Bradford used--these open up to a T1.3).
I've been bingeing these videos for days and I'm glad to also see some diversity in the people you work with. Great contributions from Bradford Young.
Looking forward to see even more diversity on this platform; would really love to have more insight from women
The thought process is intriguing.
Excellent work on the choice of lens based on "Is this telling our story" way of vision.
Bradford is excellent at what he does; good guy too.
Gracias, Bradford Young! Me ayudaste a encontrarme, me ayudaste a encontrar lo que busco. Ahora sé en que concentrarme. Felicidades, tu trabajo es excelente!!
This was a beautiful episode. I really do enjoy these episodes.
MORE! MORE! MORE! Hooray for CookeOptics!
Cooke please do a special episode on lighting black actors
Benjamin Kent why? Are they special?
Imiy F. The dark skin is more tricky to light especially under low lighting conditions.
I thought if they are dark in real life, then they should appear the same on screen. So you just expose the same way for any skin color, kinda neutral way. Especially if you have several different skin tones in the frame. Or the dynamic range issue plays role here?.. That's interesting.
Well usually for me I feel they end up being too dark. So I'd rather not put them in the shadows..... Daylight is usually fine.
The difficulty is about a stop difference between lighter skin tones and black skin tones. You might need a larger softer source or more light on a black actor vs a white actor in the same frame. Dark skin tones are some of the best to light. The light loves it.
Thank you cooke optics
more of this please! loved it
These are wonderful. THANKS!
this footage is unreal
I love these, keep them coming please
Great breakdown! Vision is key!
Love it! Keep them coming
Those focal lenghts that he is talking about are on what sensor size?
This episode was fire!
this was awesome! Thank you!
more of this!!
Thank you, very useful video.
So ALL of the flashforwards scenes were shot a 35mm?
This was very helpful
The death of a child - the greatest wound life could ever inflict.
Marvelous :)
2:32
This was a really good episode! I just wish Bradford would pick up his voice a bit, he always sounds like he's trying to talk lower than he's capable haha
Alec M Visuals sounds like he has a naturally horse voice. Talking much louder probably puts strain on his voice. That happens for my sister
Waya Lyric horse?
Hello all,
i'm not a native speaker. 2:23 What he used on the lenses?
Markus Miarka canon k-35 cinema lens
There's a lot of shots in this movie just pour Art
being a DP: 25% lens/cam, 25% lighting, 50% bullshit.