Thank you for explaining what IS cinematography; and what they DO. So far your the only channel that answered the question! Impressed even more, that you go into details, all of the crew jobs and their responsibilities. Now it so clear the directors job and the cinematographer job. Thank you! Great content.
Having worked on TV sets a lot I earned huge respect for the DP, they are definitely the most important person after the director in my opinion, the director might make the decisions but the DP really makes things happen.
It wasn't AT FIRST because we had such a tiny budget that we were working with very bad CFL lights and low ceilings. But with our studios and light setups now, it's a lot easier and, generally, once we've got the lights set up for a series, we can mark everything down and put it back together for our shoots. - Nick J.
Great, thanks for the answer! I was wondering this, since you generally tend to film with a uniform style of lighting and from one angle. Or that's what it looks like from an untrained eye.
Any chance we could get a diagram of how this set's lighting is set up? Would be interesting to take this info and apply it practically. Or is there a resource that shows lighting diagrams with corresponding images somewhere?
Excellent. Do you plan on going to school for it or self teaching? I dabbled in it a little but didn't ever really get comfortable enough with a lot of the equipment. - Nick J.
Self teaching! Can't afford higher education right now but also wouldn't go to film school for college. But awesome videos like yours, Nerd Writer, etc have helped me really focus on what I actually want to do with filmmaking and life.
Leland Schmidt Just keep in mind that the vast majority of people who want to work in film end up in the food service industry/ teaching it in high school. Dreams are nice, but you have to ask yourself if you'd still love doing it, even if you never made any money doing it. Imagine being 45 years old, working a low wage job and making amateur films in your garage. If you'd still love it, then you should go for it
Leland Schmidt I'm neither of those things. I'm trying to give you advice that nobody gave me. We tell young people that they should follow their dreams, no matter how impractical they are. Very, very, very few people make it work. Most people fail, and end up wasting their lives on a pipedream. You need to ask yourself if you would be ok doing this, even if you never make any money doing it. If you would still love doing it at age 40, working on low budget, independent projects, then you should do it.
Leland Schmidt Dude, I poured years of my life into a similar passion in a similar industry. I invested thousands of dollars & hours in it because I was convinced that a tremendous effort would ensure my success. It doesn't work like that
5:43 Only now on the laptop screen did I notice The Wizard Of OZ change to color mid-shot. Gues the still-browned interior hid the change behind the door. Not so seamless.
There's tons of good books covering the topics stated in the video. One thing I'd recommend though, is to watch films and trying to break down how they used their techniques. Try turning off the sound and analyze how the DP uses the camera's placement, movement, framing, ligthing, color, etc, to tell the story.
Okay, it's late and I'm not asleep yet so I'm going to do this with my time. A few corrections... 1: There are actually 3 separate but equal departments that operate under the DP. The camera dept. (Camera Operator / 1st AC), the electric dept. (Gaffer) and the always overlooked Grip dept. (Key Grip). In most of the Green Nether Regions of Non-America the electric dept. takes care of all of the lighting responsibilities whereas the grip dept. is exclusively in charge of the camera platforms and rigs (I.E. dollies, cranes/jibs, rigging the cameras on cars, etc.). In the US however, the electric dept. is only in charge of the lights themselves and the means to power them (I.E. lights, ballasts and power supplies, the light stands, the power cords and power distribution, and generators) while closely working with the grip dept. who, in addition to all the camera platforms and rigs, is also in charge of shaping and bouncing the light as well as light rigging (I.E. diffusion, flags, nets, reflectors and bounces, condors etc.). The Key Grip works as an equal alongside the gaffer under the DP. 2: There was also a lot of misinformation when you were talking about the different kinds of lights. I will go through all the different kinds of lights that are commonly used and explain the misconceptions. A. INCANDESCENT lights 3200k (I.E. tungsten, quartz, etc.) use a filament that is super heated by electricity until it glows a bright warm color. They are generally the less efficient light source and are somewhat being fazed out by modern more efficient technologies. They are not necessarily "smaller" lights as they can range in wattage from small 100 watt inkies to huge 20,000 watt 220 volt beasts. B. HMI lights 5600k pass an electrical arc through a special gas to create a bluer light that more closely matches sunlight than incandescents. They are not necessarily "massive" lights but are more efficient (brighter per watt) and they typically range in wattage from 200 watts to 24,000 watts (which are massive). HMI's are not used to "simulate daylight" because of their brightness but because of their color temperature which more closely resembles daylight. They also typically do not give off as much heat as incandescents as they are more efficient. C. Fluorescent lights 2800k-5600k put out very "soft" light using florescent tubes (magic cylinders) or CFL's which can come in many different colors to match both tungsten and daylight, as well as green and blue screens. They are not necessarily "more fragile" as the tubes typically come with a protective plastic cover. Fluorescents are much more efficient putting out a lot of light for relatively little power and even the biggest fluorescent light can still be plugged into a 15 amp circuit. Due to the size of the individual tubes however they comparatively don't put out as much light as the biggest tungsten or HMI lights as they would get too large and cumbersome. D. LED lights 2800k-10,000k use light emitting diodes (tiny magic boxes) to emit (typically) an adjustable, wide range of color. They are by far the most efficient light source used today, are fully dimmable and are on the cutting edge of lighting technology therefore they are very expensive. The newer Arri LED's are starting to take over on all kinds of film sets and they have resolved most of the color issues. Due to weight and overheating issues however, they are still not as bright as the largest HMI's. E. "Fresnel lights???" are not a type of light but one of many types of lens which can be put in front of any of the aforementioned lights (except for Fluorescents). Along with fresnel lenses there are: spot, flood, and stipple lenses and some lights called "open face lights" don't use lenses at all. Anyway, I doubt anyone read all the way down this far but it was therapeutic for me soooo... yeah.
I wonder why nowadays films in black and white doesn't look even closer to the old ones? I mean, it's not just shades and contrast, it's kind of something wrong in the gadation of those contrast. Also, this video made me remember the french film "La Nuit Américaine", by Truffaut, that gives some details about cinematographer's job. The title itself refers to a filming procedure to make scenes look like were shot at night (before digital editing was even an illusion). Also it's interesting a scene where we see a shooting with a lightbulb hidden in a lit candle, in its oposite side to the viewer.
Honestly, IT wasn't a good story in my eyes. Yet. Being that it was only the first chapter and everything took time to build up, but I can let that go. However, I do enjoy the film regardless. The panning and zooming was mesmerizing, especially the tilting while zooming effect was something I like the most about it - really adds to the already eerie sense and ominous feelings. I wouldn't watch again for the story, but I would do it again for the cinematography. Very beautiful angles and lighting - show casing highlighted things that demands viewer's attention.
If we imagine a film's entire crew as a group of friends, would it be accurate to say the two people that have to be "best friends" (if you had to name one) would be director and cinematographer?
It's hard to find in major motion pictures because, in order to get to that point, you have been tested over and over again. There's some terrible cinematography in lower budget films because, a lot of the time, people are still learning and aren't charging very much for their services yet. Manos: The Hands of Fate has some really terrible 16mm cinematography if you want to look at bad framing/focus/exposure. Generally, if you see "bad" cinematography in a major motion picture it's because 1) You just don't "like" it... which is fair but it's not necessarily "bad." or 2) The cinematography doesn't really match the tone of the movie.
Just look at some of the amateur videos posted on RUclips. The biggest offense is people holding their camera phones vertically instead of horizontally. When the video gets posted online, RUclips pillarboxes the video. Absolutely atrocious. What's even worse is that the creator doesn't care and creates lame excuses. Another bad example of bad cinematography is poorly lit subjects. Yet another is not using the rule of thirds when framing the shot, the camera is pointed too high so you get disembodied talking head at the bottom of the frame. Not holding a shot long enough is also bad. Shooting only a profile of the subject being interviewed is poor cinematography. There's a rule when interviewing people that you must see the subject's two eyes, one ear, and one nose. Never changing the camera position is also infuriating. You see that a lot with amateur video of a parade. It's as if the camera operator just set the camera on a tripod, started recording, and walked away.
Loving this series a lot, this is just the sort of thing I'm super interested in!! fyi for anyone else interested, MK Wiles (Lydia from Lizzie Bennet Diaries!) does this series interviewing her friends in different roles from the industry (incl cinematographer, which is really cool: ruclips.net/p/PLAmVv-Sh1UWjLfaMWqz6mIicLGyKXeaHt
Haha. Barry Lyndon is definitely beautifully shot. Best cinematography, though? I don't know if one film can ever be the best "anything." It can definitely be the film you like the most. For me, I think best cinematography would be Three Colors: Blue. But, that's only color cinematography. For Black and White I would go with The Man Who Wasn't There. But neither of those are my favorite films. As far as TV Shows go, I would lean toward season 1 of True Detective as some of my favorite cinematography. But, I also really like some of the early HD work on Battlestar Galactica. SO MANY CHOICES!!! - Nick J.
You're doing SUCH a great job... but I want so much more. More clips of particularly striking scenes emphasizing lighting, color tone, etc. And it would be wonderful to contrast Japanese, Indian, and other national conventions in this regard. And since you brought up "The Godfather," how do you even talk about the spacial organization of a scene like the pivotal scene in the office where family dominance shifts from Sonny to Michael? Watch it with the sound off and just SEE how the dynamic shifts from Sonny, in change behind his dad's desk, to Michael, sprawled out in that chair. I have no idea who was driving that. Coppola I guess.
So it seems that the director is actually a little less important to a film than the cinematographer. The director is the shipbuilder, but the cinematographer is the captain. A good ship with a bad captain is bound to end in disaster. But a good captain can still pilot a bad ship.
No, the cinematographer is still less important than the director. The director's main job on set is working with actors on performance and staging (aka blocking) which defines the film's pacing, tone and emotions. The cinematographer creates the image, but the director brings it to life.
They are both incredibly important figures. The director is ultimately the person telling the story, and have to explain his vision to each department, and the DP is ultimately the one who has to interpret that vision into something presentable through the camera. A good cinematographer may create beautiful images, but pretty pictures mean little without a strong vision behind them and a good director to steer it.
I love your videos guys. But this was sloppy, tbh. From confusing the TYPE OF THE LENS in the lights (Fresnel, open face) with the TYPE OF BULB in it (HMI, LED) - Fresnel can be LED, for example. To crediting wrong people: Malik Sayeed did not shoot Lemonade (4 different DPs shot it, and the particular moment you showed from it was shot by Pär Ekberg)... Also when talking about manipulating the colour of the film in post-production you forgot to mention the person who actually does it - the colourist (grader). #factchecking
These are fair criticisms but I'll remind you that this is just a very basic introduction. Just understanding the different things you will encounter. It's supplemental. Also, I searched and searched and searched to find who did what on the whole album of Lemonade and couldn't find specifics. So that's why we credited it as "Lemonade: The Visual Album." But, thanks for the input! - Nick J.
so freaking happy to see how far Lily Gladstone has come
CrashCourse is legit one of the best things on this planet.
no
Brian Carranza maybe
@@barnacles1352 a good video indeed but not the best in the planet
Lily is a fantastic host. Engaging and charismatic, with a speaking voice that is well-paced and even, but never boring. Great work.
Thank you for explaining what IS cinematography; and what they DO. So far your the only channel that answered the question! Impressed even more, that you go into details, all of the crew jobs and their responsibilities.
Now it so clear the directors job and the cinematographer job. Thank you! Great content.
Anyone else watching these while trying to figure out what they want to do with their life?
I just Got even more respect for the cinematographer on IT.
Vinther Angel IT stands for...?
electroboy i think the movie
Thanks Crash Course! I love this series and in my first year of film school!!
hate to say this but film school isn't that useful, some of the best filmmakers never went to film school
How was your first year?
Having worked on TV sets a lot I earned huge respect for the DP, they are definitely the most important person after the director in my opinion, the director might make the decisions but the DP really makes things happen.
Is the job of cinematographer on Crash Course an easy job?
It wasn't AT FIRST because we had such a tiny budget that we were working with very bad CFL lights and low ceilings. But with our studios and light setups now, it's a lot easier and, generally, once we've got the lights set up for a series, we can mark everything down and put it back together for our shoots.
- Nick J.
Great, thanks for the answer! I was wondering this, since you generally tend to film with a uniform style of lighting and from one angle. Or that's what it looks like from an untrained eye.
VERY uniform. Our goal is to make sure the host is lit well with soft light. We don't want to play around with shadows.
Nick J.
Lily has such a warm, calm demeanor. I bet she's incredible to work with on set.
This channel is dope
WHAT?
براتيا فلوقز Bratia Vlogs ......
aha......!
This is so awesome! Thank you so much for this video! I learned so much.
This is the one aspect of filmmaking that most people are confused by. Alot of people confuse directing for cinematography.
Yes! designers are next... :) I just love sets and special effects makeup.
I'm enjoying this series so much!! Thank you!!
Any chance we could get a diagram of how this set's lighting is set up? Would be interesting to take this info and apply it practically. Or is there a resource that shows lighting diagrams with corresponding images somewhere?
Visions of Light - great to movie to see.
Excellent work, thank you.
It's looks so interesting. How can I become a cinematographer?
Taking photography classes is a great way to start. Also making a LOT of stuff.
You'd have to get a lower level position and hope to work your way up. People try for years and never make it to as high of a position as DP.
Hi ! Are you working in this field @kubricklynch
practice with camcorder and movie editing software
Get a camera and start shooting
I really wanna work on movies but this series is the only opportunity I have to learn the techniques- I can't get physical experience anywhere!!
Same here, what i do is take my phone and shoot as many random stuff as i can to practice
At the end of this series could you put out a list of all the films you referenced! I'd love to watch them all with this new knowledge!
This is the first video you’ve done in awhile that I was interested in. Good video
Where can we see that chart in full resolution? :)
Please do Crash Course Law
Goodness me! Sooo much to do! Cudos to Cinematographers! 👏👏👏
Beep beep, Richie
He'll always be Judge Harry Stone to me.
This series is exactly what I need! What are some ways that people go about entering this business?
This is what I want to be.
Excellent. Do you plan on going to school for it or self teaching? I dabbled in it a little but didn't ever really get comfortable enough with a lot of the equipment.
- Nick J.
Self teaching! Can't afford higher education right now but also wouldn't go to film school for college. But awesome videos like yours, Nerd Writer, etc have helped me really focus on what I actually want to do with filmmaking and life.
Leland Schmidt
Just keep in mind that the vast majority of people who want to work in film end up in the food service industry/ teaching it in high school. Dreams are nice, but you have to ask yourself if you'd still love doing it, even if you never made any money doing it. Imagine being 45 years old, working a low wage job and making amateur films in your garage. If you'd still love it, then you should go for it
Leland Schmidt
I'm neither of those things. I'm trying to give you advice that nobody gave me. We tell young people that they should follow their dreams, no matter how impractical they are. Very, very, very few people make it work. Most people fail, and end up wasting their lives on a pipedream. You need to ask yourself if you would be ok doing this, even if you never make any money doing it. If you would still love doing it at age 40, working on low budget, independent projects, then you should do it.
Leland Schmidt
Dude, I poured years of my life into a similar passion in a similar industry. I invested thousands of dollars & hours in it because I was convinced that a tremendous effort would ensure my success. It doesn't work like that
You are Oscar nominee
I totally see what you did there brilliant
5:43 Only now on the laptop screen did I notice The Wizard Of OZ change to color mid-shot. Gues the still-browned interior hid the change behind the door. Not so seamless.
Extremely useful
Thanks to Crash Course.
Good vid
Thank you for the video I really enjoyed it .I learned so much,
At 1:22 , the purplish text on the pink rectangle is hard to read , I wonder how it made into final cut....
Any recommended reading on Cinematography?
There's tons of good books covering the topics stated in the video. One thing I'd recommend though, is to watch films and trying to break down how they used their techniques. Try turning off the sound and analyze how the DP uses the camera's placement, movement, framing, ligthing, color, etc, to tell the story.
This was a awesome video.
@7:25 CORRECTION! It's not the Special Effects department, it's called Visual Effects
yes I never understood Cinematography thanks for this video
Can't wait for the episode on "The Editor".
The cinematographer for Cool as Ice also worked on Saving Private Ryan and Schindler's list
All the people who call color grading cinematography should watch this
Okay, it's late and I'm not asleep yet so I'm going to do this with my time.
A few corrections...
1: There are actually 3 separate but equal departments that operate under the DP. The camera dept. (Camera Operator / 1st AC), the electric dept. (Gaffer) and the always overlooked Grip dept. (Key Grip). In most of the Green Nether Regions of Non-America the electric dept. takes care of all of the lighting responsibilities whereas the grip dept. is exclusively in charge of the camera platforms and rigs (I.E. dollies, cranes/jibs, rigging the cameras on cars, etc.). In the US however, the electric dept. is only in charge of the lights themselves and the means to power them (I.E. lights, ballasts and power supplies, the light stands, the power cords and power distribution, and generators) while closely working with the grip dept. who, in addition to all the camera platforms and rigs, is also in charge of shaping and bouncing the light as well as light rigging (I.E. diffusion, flags, nets, reflectors and bounces, condors etc.). The Key Grip works as an equal alongside the gaffer under the DP.
2: There was also a lot of misinformation when you were talking about the different kinds of lights. I will go through all the different kinds of lights that are commonly used and explain the misconceptions.
A. INCANDESCENT lights 3200k (I.E. tungsten, quartz, etc.) use a filament that is super heated by electricity until it glows a bright warm color. They are generally the less efficient light source and are somewhat being fazed out by modern more efficient technologies. They are not necessarily "smaller" lights as they can range in wattage from small 100 watt inkies to huge 20,000 watt 220 volt beasts.
B. HMI lights 5600k pass an electrical arc through a special gas to create a bluer light that more closely matches sunlight than incandescents. They are not necessarily "massive" lights but are more efficient (brighter per watt) and they typically range in wattage from 200 watts to 24,000 watts (which are massive). HMI's are not used to "simulate daylight" because of their brightness but because of their color temperature which more closely resembles daylight. They also typically do not give off as much heat as incandescents as they are more efficient.
C. Fluorescent lights 2800k-5600k put out very "soft" light using florescent tubes (magic cylinders) or CFL's which can come in many different colors to match both tungsten and daylight, as well as green and blue screens. They are not necessarily "more fragile" as the tubes typically come with a protective plastic cover. Fluorescents are much more efficient putting out a lot of light for relatively little power and even the biggest fluorescent light can still be plugged into a 15 amp circuit. Due to the size of the individual tubes however they comparatively don't put out as much light as the biggest tungsten or HMI lights as they would get too large and cumbersome.
D. LED lights 2800k-10,000k use light emitting diodes (tiny magic boxes) to emit (typically) an adjustable, wide range of color. They are by far the most efficient light source used today, are fully dimmable and are on the cutting edge of lighting technology therefore they are very expensive. The newer Arri LED's are starting to take over on all kinds of film sets and they have resolved most of the color issues. Due to weight and overheating issues however, they are still not as bright as the largest HMI's.
E. "Fresnel lights???" are not a type of light but one of many types of lens which can be put in front of any of the aforementioned lights (except for Fluorescents). Along with fresnel lenses there are: spot, flood, and stipple lenses and some lights called "open face lights" don't use lenses at all.
Anyway, I doubt anyone read all the way down this far but it was therapeutic for me soooo... yeah.
Great video!
Jan 23, 2018: Congrats to Rachel Morrison (Mudbound) for being the first woman ever nominated for an Academy Award for Best Cinematography.
Niice! Film Student here 😄😄😄
No, NOT THE BALLOONS
2:39 That moment you realise Hank Green is needed on set but you have no way to work him in. :D
The documentary "Visions of Light" is available on RUclips.
3:00 key light 1 of 3 lite
Shout-out to Roger Deakins!
I wonder why nowadays films in black and white doesn't look even closer to the old ones? I mean, it's not just shades and contrast, it's kind of something wrong in the gadation of those contrast.
Also, this video made me remember the french film "La Nuit Américaine", by Truffaut, that gives some details about cinematographer's job. The title itself refers to a filming procedure to make scenes look like were shot at night (before digital editing was even an illusion). Also it's interesting a scene where we see a shooting with a lightbulb hidden in a lit candle, in its oposite side to the viewer.
Human Geography was released and the retracted for given reasons. Is there going to be a geography course in the future?
6:19 Hey, you know that's not really Pennywise, right? I'm Pennywise!
Amazing Contant
No mention of Roger Deakins or Immanuel Lubezski,,,?
Woo!
What camera do you use?
It's exactly the same in animation, isn't it? Also, still looking for the Crash Course Animation!
What apps does Crash course use to make their videos?
Can you do more of the movie making?
Honestly, IT wasn't a good story in my eyes. Yet. Being that it was only the first chapter and everything took time to build up, but I can let that go. However, I do enjoy the film regardless. The panning and zooming was mesmerizing, especially the tilting while zooming effect was something I like the most about it - really adds to the already eerie sense and ominous feelings.
I wouldn't watch again for the story, but I would do it again for the cinematography. Very beautiful angles and lighting - show casing highlighted things that demands viewer's attention.
Sorry. I had to laugh when she said "DP". I'm a sick bastard.
Don't be confused
Michael Walton
*DEFINITELY NOT MY FAVORITE GENRE OF PORNOGRAPHY BUT IT PROBABLY FEELS PRETTY GOOD .*
If we imagine a film's entire crew as a group of friends, would it be accurate to say the two people that have to be "best friends" (if you had to name one) would be director and cinematographer?
You'll have to include the editor with those two.
I really hope a crash course logic
Before watch this video i thought director in King.. DP is King
0:49 I thought she going on a whole different direction when saying "but don't be confused"
is the girl at 3:00 your cinematographer?
That is Sarah Meismer. She works for Scishow and How to Adult. She's a director, cinematographer, and good friend of Crash Course :)
- Nick J.
Who oversees CGI motion capture? DP or SpecFx?
The girl is gorgeous. Period.
please do a crash course about the production designer.
Can someone comment all the movies mentioned in this video? Because i need to watch them alllll
IT
you'll float too
I'm now curious about examples of bad cinematography. Someone doing something badly can be an excellent teacher.
It's hard to find in major motion pictures because, in order to get to that point, you have been tested over and over again. There's some terrible cinematography in lower budget films because, a lot of the time, people are still learning and aren't charging very much for their services yet. Manos: The Hands of Fate has some really terrible 16mm cinematography if you want to look at bad framing/focus/exposure.
Generally, if you see "bad" cinematography in a major motion picture it's because 1) You just don't "like" it... which is fair but it's not necessarily "bad." or 2) The cinematography doesn't really match the tone of the movie.
Just look at some of the amateur videos posted on RUclips. The biggest offense is people holding their camera phones vertically instead of horizontally. When the video gets posted online, RUclips pillarboxes the video. Absolutely atrocious. What's even worse is that the creator doesn't care and creates lame excuses. Another bad example of bad cinematography is poorly lit subjects. Yet another is not using the rule of thirds when framing the shot, the camera is pointed too high so you get disembodied talking head at the bottom of the frame. Not holding a shot long enough is also bad. Shooting only a profile of the subject being interviewed is poor cinematography. There's a rule when interviewing people that you must see the subject's two eyes, one ear, and one nose. Never changing the camera position is also infuriating. You see that a lot with amateur video of a parade. It's as if the camera operator just set the camera on a tripod, started recording, and walked away.
_15 Mistakes Filmmakers Make_ at 3:28 "Poor Composition" ruclips.net/video/t1myw_0W5E8/видео.html
pennywise is cool
Can anybody here recommend a ink of said push in shots
You can't see California without Marlon Brando's eyes.
Loving this series a lot, this is just the sort of thing I'm super interested in!! fyi for anyone else interested, MK Wiles (Lydia from Lizzie Bennet Diaries!) does this series interviewing her friends in different roles from the industry (incl cinematographer, which is really cool: ruclips.net/p/PLAmVv-Sh1UWjLfaMWqz6mIicLGyKXeaHt
Can we all just agree that the movie with the best cinematography is Barry Lyndon, and the series with the best is Breaking Bad? Okay? Okay.
Haha. Barry Lyndon is definitely beautifully shot. Best cinematography, though? I don't know if one film can ever be the best "anything." It can definitely be the film you like the most. For me, I think best cinematography would be Three Colors: Blue. But, that's only color cinematography. For Black and White I would go with The Man Who Wasn't There. But neither of those are my favorite films. As far as TV Shows go, I would lean toward season 1 of True Detective as some of my favorite cinematography. But, I also really like some of the early HD work on Battlestar Galactica. SO MANY CHOICES!!!
- Nick J.
Hi
You're doing SUCH a great job... but I want so much more. More clips of particularly striking scenes emphasizing lighting, color tone, etc. And it would be wonderful to contrast Japanese, Indian, and other national conventions in this regard.
And since you brought up "The Godfather," how do you even talk about the spacial organization of a scene like the pivotal scene in the office where family dominance shifts from Sonny to Michael? Watch it with the sound off and just SEE how the dynamic shifts from Sonny, in change behind his dad's desk, to Michael, sprawled out in that chair. I have no idea who was driving that. Coppola I guess.
Please do charlie and the chocolate factory next!
"Like Peter O'Toole riding out of the desert" Except, it was Omar Shariff riding out of the desert.
Why am I watching this lmao.
Stanley Kubrick is the best director of all time.
“Don’t be confused about the DP”....🤔
So it seems that the director is actually a little less important to a film than the cinematographer. The director is the shipbuilder, but the cinematographer is the captain. A good ship with a bad captain is bound to end in disaster. But a good captain can still pilot a bad ship.
Thunderkrux A ship that is built poorly will sink....
No, the cinematographer is still less important than the director. The director's main job on set is working with actors on performance and staging (aka blocking) which defines the film's pacing, tone and emotions. The cinematographer creates the image, but the director brings it to life.
Except the director can tell the DP to change the lighting.
They are both incredibly important figures. The director is ultimately the person telling the story, and have to explain his vision to each department, and the DP is ultimately the one who has to interpret that vision into something presentable through the camera.
A good cinematographer may create beautiful images, but pretty pictures mean little without a strong vision behind them and a good director to steer it.
wrong
Don't I know you from the cinematographer's party?
English (sorry for bad hi)
very original comment
So,the cinematographer has more complex,technical job than the director?
Usually, yes.
- Nick J.
I see Pennywise, I like.
I was very happy when Thought Cafe sent me that thumbnail. The animation later on is also REALLY good :D
- Nick J.
We all float down here....
She is so cute that it distracts me to concentrate on what she is saying.
This is why I just pay people to make movies instead of doing all this stuff.
You prefer to be the Executive Producer.
Do people really use film anymore?
Anime production please!!! I’m an otaku!!!
Anyone from Bangladesh here, lets collaborate!!
Will there be a Harvey Weinstein-inspired episode?
The casting couch?
I think She's All Right, the Face of a Man [with a Wig on], but the Feminine Voice of a Woman..... OK!
I love your videos guys. But this was sloppy, tbh. From confusing the TYPE OF THE LENS in the lights (Fresnel, open face) with the TYPE OF BULB in it (HMI, LED) - Fresnel can be LED, for example. To crediting wrong people: Malik Sayeed did not shoot Lemonade (4 different DPs shot it, and the particular moment you showed from it was shot by Pär Ekberg)... Also when talking about manipulating the colour of the film in post-production you forgot to mention the person who actually does it - the colourist (grader). #factchecking
These are fair criticisms but I'll remind you that this is just a very basic introduction. Just understanding the different things you will encounter. It's supplemental.
Also, I searched and searched and searched to find who did what on the whole album of Lemonade and couldn't find specifics. So that's why we credited it as "Lemonade: The Visual Album."
But, thanks for the input!
- Nick J.