My Cinematography Method || Barry Ackroyd || Spotlight
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- Опубликовано: 4 июл 2018
- This weeks episode is about how Barry creates his style. What are the advantages of combining handheld with focus pulls and zooms? What dynamic does this add to a film?
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"The only mistake would be not to try." Good words to live and work by!
Barry's style is probably a complete 180 of my own (1 camera, planned shots and movements) but I do admire his work ethic and filmography. Very interesting to see the reasoning for his style.
This channel is truly a gem of RUclips and will be huge. Thanks for uploading such good content!
I have nothing but respect and love for this channel. There are far too few places in this world dedicated to the "art" of creation. The unbiased levels of vulnerability, Ingenuity, failure, and love that goes into every video by each guest speaker here is uncanny. Not only that, these are people who have created pieces that have defined and redefined multiple generations, It is all just so awe inspiring. The most human version of teaching film making I have ever come across is right here. Thank you all so much for reminding people that film is not about capturing a shot by the numbers, but capturing a perspective all your own. You remind us all that this art is not what you have, but what you have to say! Bravi, Brave!
What an amazing insight, this why cinema is such an important art form. Brilliant video, well done Cooke Optics, this is the best channel around 👏🏻
What a thoroughly decent and humane man he is, as well as a great DoP.
I am so stoked about every video on this channel. Fantastic content, thank you so much!
This channel is pure gold. Something I've been searching a long time.
Can’t go a week without a dose of your videos. Thanks for putting out such amazing content for the filmmaking community!
I think that besides Robby Müller (Rest in Peace) Barry Ackroyd became the second cinematographer I admire. Salute!
And thanks again Cooke not just for all the work to keep this channel going but for still making the most beautiful lenses on the market ... in my opinion.
I've worked with Barry and it's thrilling cause you can go anywhere and he's right here...amazing experience..
Love to follow his style as a cinematographer and happy to learn his way of approach. We as human always try to control every thing but you can achive better when you keep things organic.
I would listen such information all day long. Please do more! This is very important info.
This is my favorite video in the series so far! This is exactly how i vibe!
I can watch this series all day and learn more than go to school!
love this dudes sense of style
Wow that was seriously informative thanks so much
Great insight into the thoughts of a master.
Love the tips about focus marks.
Really enjoyed this!
Fascinating!
This one was deep. Great content
How is this channel not more popular?
great content, thank you!
Such a lovely and talented man
His next project is Whitney biopic.I cannot wait how it will reconstruct the recording of "I Will Always Love You".
very informative! thanks
Beautiful
Thank u sir...
Barry would be the ultimate wedding videographer......
All jokes aside though, there should be more of this hand held 'feel' to movies as it immerses you into the room. Its as if you are there. Barry is good at this. Not all over the place. It has flow. Very good info and thanks again for the content.
Sadly, handheld shots are over done. Much of the time, they're not that immersive at all. Who sees the world bouncing all around through their eyes? No one. So, how is shaky camera work immersive? The only time I see handheld shots work are in war films where you're following around soldiers who are running and ducking as they fight. It makes sense in a war movie. I think lighting and composition are more effective tools than shaky cameras. Just my view.
VFX Todd I'm not getting into a debate. I'm complimenting someone and your questioning my view of someone's work. Comment on the video...not me
Love his method but I feel like the audio crew wouldnt like it as much
I came here to say the same lol. I'm a soundie, and while it sounds great, this style of shooting forces you to use wires (as you can see in the Bourne excerpts, the booms are way up, that won't work, just for ambiance). Depending on the movie it's the only way, but I think it shouldn't be the norm.
On the other hand, I agree with recording everything. Unless you're shooting some ungodly expensive format, there's nothin to lose there.
Would love to see him do a “how to” hand held video
step one: add as much weight as possible to the camera to the point where you can barely hold it anymore
step two: get buff af
enjoy shooting beautiful handheld with organic and smooth motion.
Well it's not Barry Ackroyd but Sean Bobbitt has an amazing MasterClass on HandHeld Camera Operating:
ruclips.net/video/IHcYjKpJb-I/видео.html
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interesting
'if the method works why would you change it?'
As a film maker I don't have a tenth of Mr Ackroyd's skills, so the following comment is purely my personal opinion as a film watcher. I hate hand held camera work. For one thing, it reminds me that I'm watching the film though someone else's eyes. If the camera is held further back, perhaps on a dolly, my eyes can follow the action. Then I don't feel sick. And I'd feel more like I was there. As for shaking the camera when there's an explosion, well that bugs me as well.
Best regards, Jim McNair.
But Barry knows how to do it without been sickining and it has purpose and flow
This is just multicamera documentary shooting; simple, shoot the shit out of every scene, let the editor make the movie.
I’ve gotten dizzy watching 3 movies in my life: United 93, The Hurt Locker and Detroit. All shot by this dude who loves the shaky camera. The opening shot of Detroit looks like gave the camera to a 10 year old and had him run down the street with it.
no one cares
@@ashsmart6895 What do you mean no one cares? You cared enough to write a comment. Also, they give academy awards for cinematography, so there's a huge number of people who care. As far as the shaky camera, lots of people hate it.
@@francobarberis3126 don't cry, little one
@@ashsmart6895 I'm laughing. Keep trolling. If you write no one cares on every comment, you have a lot of time on your hands.
@@francobarberis3126 i write that on every comment. you are amazing at comebacks. i have been crying for the past hour non stop. please stop being so offensive. you are too good. you are god
The more I understand film. The more I see that what I love the most about it had nothing to do with being a director! The cinematographer is god! Lol what do people compliment ? The look of a film, the angles, the acting, the locations, the camera movement, the sound, the effects etc & none are done by a director smh I feel cheated. I know we (the director) have the final vision but we all know how a film is supposed to look so yea...
What if you only own 1 camera? haha
now cinematographers advertise their work by relinquishing on their tools. so then they can claim, they will provide more freedom for actors. truth is, you dont do films for actors, or to impress directors and your team, you do films for the audience and they want a film not an theater. In theater, actors are free to move , to response, to freestyle, but this does not make it more believable for the audience, doesnt make it easy to follow the story, not easy to get the vision of the director.
If you want more freedom for actors, you could also film on a low-buged camcorder, avoid microphones and lightingtechnique, avoid any equipment and avoid any repetitions for the coverage. but first, dont do a script. let them freesytle everything and cover every scene one take, later dont cut, just do interviews and let the audience know how great your work is, since your actors are free to move but your editor is not free to cut between actions and scenes.
even in this short sequence, you can notice how many cuts become awful and you cant even tell, how good or bad the acting has become, since it is just shacky blurry and close up. there is not much expression from body or dialog. the editing on 2:45 shows, they still had to switch on BCam to cover the explosion. ohhh wait, some actors had to be placed on a marker? how they make sure the explosion will be covered for the bcam? by the way, it really feels like a jump cut
every frame has to be shown in the film? i guess, the editing took 3times more effort then a regular one
But you're still working with humans. People's experience working with you has a big impact on your reputation. If your method makes you easier to work with you'll be more likely to get work in the future.
AMEN & BRAVO. Finally somebody who I can totally agree with! This "Ego Tripping" of DP's, actors and producers agains intelligent writers and directors is awful and a waste of time! Go to Kubrick and tell him that he is an ugly ape, therefore dumb and let Tom Cruise do everything, because being handsome is always equal to be intelligent!
I’m confused. Are you saying you do films for the audience? I’m trying to be clear before I respond.
I cut a film w/3 cameras, needless to say, the director wanted a million versions of each scene.
Great but man the department store music just didn't need to be there. It's not awful, it's just unnecessary.
The music is so distracting! Let the man speak!
Barry Ackroyd, CIA appointed cinematographer 😂😂🤣🤣
Damn I could not come up with a more propagandist filmography thant this... Nice fellow i'm sure.
Film making is one of the most delusional art forms in existence. So impractical. Putting a camera on someone who needs help instead of actually helping them is ridiculous. Films cost so much money to make. Imagine if film teams put all that effort into real world scenarios. So much energy goes into fake fantasy lol
I really do not like this guys cinematography and I fundamentally disagree with 90% of what he said.