Cinematography Style: Matthew Libatique
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- Опубліковано 17 тра 2024
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In this edition of Cinematography Style, we’ll unpack Matthew Libatique’s photography by unveiling some of his philosophical thoughts and insights about working as a DP, as well as breaking down some of the gear and technical setups he has used to achieve his vision.
Source: • The Filmmaker's View: ...
Source: • Working with Darren Ar...
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Blomma - 'Disco'
Gregor - 'Morning Breeze'
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Paint With Sound - 'Ginger'
Chill Winston - 'Be Like That'
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0:00 Introduction
1:19 Background
2:38 Philosophy
6:55 Milanote
8:18 Gear
13:43 Conclusion
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Matthew Libatique is one of my favorite cinematographers. The classics are Black Swan, A Star Is Born (2018), and Requiem for a Dream. Iron Man was one of the first MCU movies I saw, which he shot. Excited for The Whale.
You gotta peep Native Son, really liked that one too
This guy has worked on such a diversified wild filmography. starting from oscar material psychological movies like Requiem for a dream and Black Swan to cgi heavy superhero movies. it's really crazy
This aged well, because Matthew is coming back to the MCU as the Cinematographer in Blade
@@tovolume He's coming back to the MCU for Blade? Awesome! Hopefully, they don't waste him like they did with Venom.
@@tturnquest1 Yup confirmed
Big fan, fellow Filipino and Inspirational ~
Ang galing! 👏👏👏👏👏
Matty Libatique is one of my favorites. I still stand by my statement that the first two Iron Man films have the best cinematography in the MCU.
no they don't
This aged well, because Matthew is coming back to the MCU as the Cinematographer in Blade
Phone booth is one of his that i LOVE.
so great to have u on the platform
Made the best looking MCU film and his work with Aronofsky remains unparalleled.
I wouldn't say he's one of my favorite cinematographers, but I do like how he emphasizes contrast in his shots.
Can we mention Libatique without talking about the insane night for day shooting he did on Noah? Your video "How Darren Aronofsky Shoots A Film At 3 Budget Levels" goes into some detail about that crazy ambitious production.
Love these Cinematographer profiles. Very educational.
Jarin Blaschke would be a great next subject to explore
Awesome & Thanks :)
Nice!
Great!
Thank you. Very interesting series. I would like to see a video on style of dan laustsen. Thanks for your effort
Such a boss.
Long overdue
Back when the MCU hired some actual geniuses
Actually, back then, the movies had individuality
So much that the demand was smaller, so the earlier movies could be shot on film
Now that the demand is high, everything had to be done fast, like shooting digitally
To do crap?
Back then they used to shoot on film. Post IronMan3 they just went with the dull flat digital look.
They still do but they beat them into submission and hire them for name more than creativity
I don't think it's the lack of talent. they do have talent, they just don't care about innovation and unconventional methods anymore. No Way Home had the cinematographer of Avatar, and look how that looks generic, even like a student movie at times (especially by the end in that restaurant scene. it's really crazy for a 200m movie)
please do cinematography style of claire mathon
I appreciate the iron man 1 love
He's great and happy he puts Filipino filmmakers on the map. But once, I was at Camerimage Film Festival in Poland a few years back where he got into a drunken fight at a bar next to the hotel I was at. I really espect his as a cinematographer but mixed feelings since then.
When was that?
"Taking creative risks."
How often do these risks lead to bad outcomes? If they usually turn out OK, then he isn't taking much of a risk, is he?
I would like to see more investigation into this type of idea in this channel. He only ever talks about what works and barely scratches the surface of a lot of DP's with insight generally boiling down to "they do it to support the story"
Gimme a bit more
Very good video. But to make it clear, a cinematographer does not choses the shot or composition of the shot, as well as the type of lens. The director composes the shot, framing and type of lens. This is miss information and needs to be corrected. Cinematographers do not direct anything. They manipulate, arrange and paint with light, depending on the director's vision. And yes, an essential part of filmmaking.
Your statement is not entirely true. The composition, framing, lens choices are all decided in collaboration between a director and DP. Ultimately in narrative films, the director and/or the production studio usually have the last say, but a director will not commonly choose the composition or framing of the shot - that's more often the DP's role. But it all depends on the type of DP and director since some directors are more precise in what they want and some are more lenient and trust the DP to handle the frame, lenses and camera movements.
@@miknivek11 Dear Kevin. Composition, framing, lens to be use, are dictated by the director, not the cinematographer (and they are not directors, cinematographers don't direct anything. But this is for another discussion) And real directors do make all the critical choices on the set, including judging the performances of the actors. And further more, studios do have a lot of saying only if the film if is a studio picture. Back in the old days, the great cinematographers, like James Wong, Gregg Toland, Vilmos Zsigmond, Nestor Almendros, etc etc, composed lighting, but never dictated, commanded or directed. That is the job of the director. :)
@@marcosortiz5349 Hey Marcos, I'm not disagreeing with you. I just wanted to point out that there are plenty of instances when the DP chooses the framing, composition, lens choices, and camera type. After all, the DP is in charge of essentially anything within the realm of camera and lighting departments, since that's the DP's job to manage those departments, based on the director's vision. And the relationship between a director and DP is most often a very collaborative one, so it all really depends on the dynamic between the two people. I work in the current film industry so I see this done all the time. And yes agreed, the directors make the most, if not all, the critical decisions on set - they are the ones spearheading the vision so everyone relies on the director's input. But I have to say, film studios (or whoever has the most money invested in the project) has a big influence in the overall production outcome as well, if not more than the director, sometimes.
Libatique and Jason Mitchell were the only good things about the “Compton” movie. Such a rubbish film.
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I never liked his style, feels too amateurish for me, with the blown out highlights and the odd color correction.
Don't know if he is going for the documentary style or he is emulating the low budget guerrilla style of film.
Try watching his movie "Everything is Illuminated"
It's okay we all have different opinions
@@yeppieyay8906 I will
@@milovarquiel Reason is, it looks different from other movies he made. I think the look of the finished product really depends on the director (color correction and whatnot). Also, Everything is Illuminated is a pretty good movie.