Cinematography Blog

Cinematography Blog

Ask anything   Hi!

Rich Wareham, currently studying BSc Digital Film & Post Production Technology at Staffordshire University.

This blog is part of my 2nd year cinematography module and involves everything that will contribute towards my individual 3 - 20 minute cinematography piece at the end of the semester.

Links, photos, videos, reblogs, reviews & personal notes taken during the lectures & practical tutorials from now till christmas.

Peace x

Twitter

Vimeo

Youtube

Flickr



twitter.com/RichW99:

    TSP: Racing For Life

    This a taster of what Talan Racing is all about & how it came to be an officially ACU licensed racing team in 2014.

    A crowd funding page will be up shortly

    Thanks to Talan Skeels-Piggins, Anthony Kirwin, Talan Racing team, The Bike Experience,

    Filmed on Canon KissX4 (550D) SLR with 18-125 Sigma lens & Zoom H6 audio recorder

    (Source: vimeo.com)

    — 3 months ago
    #Vimeo  #talan  #piggins  #rich wareham  #documentary  #racing  #team  #motorcycling  #thundersport gb  #2014  #fyp  #project  #canon  #hd  #dslr  #filmmaking  #kiss 
    http://www.youtube.com/attribution_link?a=iGoLFGWj4Lw&u=/watch?v=sWrzXj9fVlc&feature=share →

    My latest project with Bristol / Bath based band, Budada

    Shot, Edited & Directed by my good self.

    Please Enjoy!

    — 4 months ago

    My first ever time using the Canon 7D digital camera. It has blown me away. Anyone who still uses the 550D should have a go on this, then decide which onr is best.

    There is not a lot to choose, but th colour, functionality, & speed is a lot more desirable for TV & film.

    I really want one now, and cannot wait to use it again.

    Enjoy.

    (Source: vimeo.com)

    — 2 years ago with 3 notes

    War Horse Movie Trailer 2011 | Official Launch Trailer | HD (by UKFilmFactory)

    — 2 years ago with 2 notes

    Harrison Ford Watches Indy For The First Time (by dogfoodfilms)

    — 2 years ago
    Films that have inspired my cinematography.

    During filming, I couldn’t help but notice that the style of filming that I was trying to aim for, was completely different.

    In the end, natural light was used, sun, candle light, flurescent tube lighting, fairy lights, but the way it hit the camera was very close to another new style of approaching film-making.

    A independent British film, Monsters, had a kind of similar tone to it, The out of focus imagery, candle light, sun light hitting the camera’s 18-55mm lens. 

    In this film, director Gareth Edwards, used  a Sony EX3, a digital HDTV format captured superb definition in low light, using no practical lighting to enhance of fake scenes.

    (Source: imdb.com)

    — 2 years ago with 1 note
    #film  #cinematography  #monsters 
    Slumdog Millionaire -enhancing natural light with practical light creates the illusion the the light in the location is brighter and compliments the subject, or in this case, the girl.

This is easily captured, using the right camera, a lens that lets in more light than the human eye.

If a super lens that let in more light is not available, a wonderful technique, would be to add a redhead, then bounce it of a wall & redirect it to a similar line of light. Maybe use a reflector to bounce the light up to match the low level of light in the shot.

Irt doesn’t matter how it is lit, as long as it can replicate or enhance the natural light in the scene & most importantly looks good on camera.

The out of focus light really helps define the focus of the girl.

This technique is all about getting the right distance away from the girl, zooming in to a point where it does not affect how much light comes into the camera and nothing or no one blocks the light.

    Slumdog Millionaire -enhancing natural light with practical light creates the illusion the the light in the location is brighter and compliments the subject, or in this case, the girl.

    This is easily captured, using the right camera, a lens that lets in more light than the human eye.

    If a super lens that let in more light is not available, a wonderful technique, would be to add a redhead, then bounce it of a wall & redirect it to a similar line of light. Maybe use a reflector to bounce the light up to match the low level of light in the shot.

    Irt doesn’t matter how it is lit, as long as it can replicate or enhance the natural light in the scene & most importantly looks good on camera.

    The out of focus light really helps define the focus of the girl.

    This technique is all about getting the right distance away from the girl, zooming in to a point where it does not affect how much light comes into the camera and nothing or no one blocks the light.

    — 2 years ago with 6 notes
    #film  #slumdog millionaire  #danny boyle  #anthony dod mantle 
    How they used light in 127 Hours.

The light source hitting James Franco is so intense, you can’t tell if he is in a studio, or at the location on a bright summer’s day.

There is a a lot of graining on the rock walls either side, which leads me to suggest that  it is at the location. The cinematographer, Anthony Dod Mantle has decided on getting the maximum amount of light he can to hit the lens, under expose the image & when lifting the image in post, getting slight graining.

It does look as if the focus of light is on getting the character’s light perfect & finding a tipping point where the wall is still visible on location / set.

    How they used light in 127 Hours.

    The light source hitting James Franco is so intense, you can’t tell if he is in a studio, or at the location on a bright summer’s day.

    There is a a lot of graining on the rock walls either side, which leads me to suggest that  it is at the location. The cinematographer, Anthony Dod Mantle has decided on getting the maximum amount of light he can to hit the lens, under expose the image & when lifting the image in post, getting slight graining.

    It does look as if the focus of light is on getting the character’s light perfect & finding a tipping point where the wall is still visible on location / set.

    — 2 years ago with 5 notes
    #127 Hours  #Anthony Dod Mantle  #Danny Boyle 
    Dogme film making

    As I have previously mentioned, Anthony Dod Mantle plays a big part in learning about cinematography. Some of his work uses a lot of or all natural light or light sources found on the scene during filming.

    A great example of this is the widely acclaimed …28 Days Later. When a scene is filmed in the dark, it only uses the light found on location, like lamps, ceilings lights or big flood lights during the scene. This, coupled with filming with DV & D1 source format gives a great modern homemade digital look.

    Apart from the final scene, it was shot on a Canon XL-1S, the same camera that is available form the earliest stages of a current film technology degree course at Staffordshire University.

    The lenses used during filming in 2001, give the best possible output to compliment the overall look of the production. Canon EC and EJ Prime Lenses (with Optex adapter) This information was found from a very reliable film source on IMdB

    The film that really put Lars Von Trier & dogme avant-garde film making to the forefront of cinema was the Von Trier film ‘Dancer In The Dark’ starring Björk.

    Although the film isn’t considered Dogme in it’s final production, most of the film producction techniques and technologies are shared with Von Trier’s trademark Dogme95 stamp. The cinematography from this film is like no other major film that was mae at the time. Winning the top Cannes Film Festival prize, the Palme d’Or in 2000.

    Going back to another Von Trier film, Dogville brought together both the creator of Dogme and a very well respected cinematography at the time, Anthony Dod Mantle (28 Days Later… , Slumdog Millionaire)

    Von Trier being his own camera operator whenever he shoots a film, Dod Mantle provided a good direction as to how to film such a clean film like Dogville, which was effectively shot on a sound stage.

    That will be very hard to do as the lighting is great and hard to capture naturally flowing character within the composition.

    A large part of Dogme, is capturing everything on camera in it’s maximum lighting conditions as close to the human eye as possible.

    After looking through a few Dogme films, a hidden theme or style was noticable. The way they are shot and put together make’s it feeel the camera is following the characters and trying to keep up, rather than the camera being set-up around the characters.

    That could be the way the story is told or written, but the camera reacts to actions & characters on camera that don’t look staged.

    This revolutionary style of film-making is seeping ever more into mainstream film & TV.

    You could argue that recent TV hits such as “The Only Way Is Essex”, “The Hills” & Made In Chelsea” have adopted a dramatic realism tone to how they are conveyed on screened.

    Southland, a hit US TV cop/gang drama has also found a niche in the way it directs it’s actors on screen.

    Much of it can be only visible when producing a really tight edit that flows in the dogme style.

    Although, most of Dogme95 film making is ignored in big budget films & TV to make way for non-dogetic music, foley, impossible shots that require a lot more than just capturing the image & sound.

    Melancholia, the most recent Lars Von Trier film has a lot of dogme elements in, but contains a great amount of foley, non-digetic material, visual fx and cinematography that break Dogme95.

    — 2 years ago with 3 notes
    #28 Days Later  #Canon  #dogme  #film  #light  #Lars Von Trier  #Dogme95 

    Wholesalers Directory