One of the things Kaminski does when shooting the "Hollywood-style" lighting/ambiance is to use diffusion filters; he used to do the Douglas Slocombe (Spielberg's cinematographer for the OG Indiana Jones movies) method of stretching ladies pantyhose over the front of the lens - this diffuses the highlights greatly, and creates a soft, glossy sheen to the lighting; making a sort of "halo" effect. He did this for A.I. because he found the Zeiss lenses he used for that film to be a little too sharp for the story. Nowadays, I think he just uses normal soft filters for diffusion. Once you notice this look, you can see the heavily diffused lighting in some scenes in Minority Report and War of the Worlds, as well. I think Kaminski's shooting style is associated with Spielberg because he's been his defacto DoP for over two decades now: Spielberg likes to use wide lenses - when shooting spherical, he tends to stay in the 20mm range; so 20, 21, 24, 27, 29mm, etc. I've read that Spielberg's workhorse focal length is the 21mm Panavision Primo when shooting spherical. Although he has been known to use wider focal lengths, like the 14 or 17mm. Even though he's not a big long lens guy; Spielberg will occasionally use a longer lens (like an 85 or 100mm) for additional coverage. He tends to not use the middle focal lengths (like the 35, 40, 50mm) as much. Kaminski says that when he shoots glamour shots; he personally likes using a 50mm and longer. When shooting anamorphic it is much the same story: Spielberg likes to use the 35, 40, 50mm lenses; which is on the wider end with anamorphic lenses. Unless it is for additional coverage, or for certain shots, anything over 50 or 55mm is not used that much in anamorphic on a Spielberg film. Spielberg does not like zooms, and will avoid using them in most cases - Kaminski said he practically had to beg him to use a zoom on Munich, and he only agreed because it was a story that took place in the 1970s, and there was an espionage aspect to it. I think the reason Spielberg likes working with Kaminski is because he good at what he does; if he wants his film to look a certain way, Kaminski is proficient and skilled to give him the look he wants, with the ability to improvise and plan to get the result he wants, reliably. If a director likes working with a cinematographer, they will want them to work for them as often as they can, because they are able to work very well with them. In Janusz Kaminski's case: he is to Steven Spielberg what Roger Deakins is to The Coen Brothers.
Please do more Cinematography Style videos about John Schwartzman, Dan Mindel, Dariusz Wolski, Jan de Bont, Jeffrey L. Kimball, Andrzej Bartkowiak, Amir Mokri, Larry Fong, Oscar Faura, Salvatore Totino, Wally Pfister, & Dean Cundey.
He' created so many visually pleasing cinematic masterpieces and some grim images of reality with some of the dark subject matter that the movie deals with but isn't necessarily and ugly image it's just a more realistic true to life image, He really knows well his craft and is a genius in creating images that are unique and that speak to your heart and really make you feel.
For the combat scenes in Saving Private Ryan Kamiński set up the camera shutter angle at 45 angles or 90 angles, insted of the usual 172.8, giving the image a punchy, hyper realistic look, that made the combat look more rough and violent.
Hi, I'm enjoying your "Cinematography Style" series. You often ask for suggestions for other subjects. How about a couple of British cinematographers, both called Freddie. Freddie Francis and Freddie Young. Keep up the good work!
I maintain that Kaminsky is not the right DP for Spielberg. Sure, now that time has passed, things are what they are… but Kaminsky is too flashy, too noticeable, and that only works in certain scenes (fountain scene in The Terminal, etc) or some rare movies like West Side Story where things are fantastical. Spielbreg’s DP style will always be Dean Cundey type cinematography
I cannot stand his style; I respect that he's made a career for himself, but I cannot deal with the hazy, halo like lighting that Kaminsky likes. I thought the last Indiana Jones looked awful.
Outstanding analysis of one my favourite cinematographers. Since you are taking requests on subjects for your videos. An analysis of an old school DP would be fascinating. I know this could be a great challenge considering many films and resources could be very difficult to find on them. However, I find a lot of old school DP's are not talked about very often in this day and age. I have two that I have admired over the years through my cinematic journey: Geoffrey Unsworth and Lucien Ballard. Both hall of fame cinematographers have worked with Kubrick, and both of them have done some amazing films outside of the masters filmography such as Superman, The Wild Bunch, Murder on the Orient Express, and Nevada Smith.
I'm a filmmaker (aspiring?) and I mainly write and direct and shoot corporate videos by myself but your channel is one of the few cinematography-focused channels that I subscribe to because I throughly enjoy your breakdowns and learn so much technical knowledge, history, and I gain so much respect for cinematographers and film crews in general. Keep up the fantastic work!
I love these videos, I learn so much about how to visually tell story's in different environments with different methods. I like to combine loads of styles and pick out the things I like the most from each inspiration source. I am still in school, but I know more about storytelling than my classmates. Partly thanks to you! So thank you, I really appreciate you and your work 👌
I'm a little confused by the narrative you're painting. Kaminski single-handedly shot some of Spielberg's most extreme and over-the-top "Hollywood Glamour" style movies (A.I, WAR HORSE, CATCH ME IF YOU CAN) while also deconstructing it in films he made EARLIER with Spielberg (SCHINDLER'S LIST and SAVING PRIVATE RYAN). Kaminski makes Spielberg's prior team-ups with Hollywood-glamour cinematographers like Allen Daviau, Douglas Slocombe, Vilmos Zsigmond and Dean Cundey seem absolutely tame by comparison. Their work, while being top-of-the-line in the Hollywood aesthetic, still strived for a painterly realism whereas Kaminski blew past that and straight into a kind of photography that felt like the second coming of the 1970's pro-mist phenomenon. I'm not sure how Kaminski can "deconstruct" Spielberg's style when, after doing it, he reverted to Spielberg's style harder than anyone has ever done before to an eye-wateringly intense level.
Surprised to see that you didn’t acknowledge his major contributions to The Wonder Pets episode “Save the Crane” Season 4 Episode 13. A true masterclass in cinematography.
@ 10:50 minutes - along with the film stock, he had Panavision strip the coatings off the lenses for Saving Private Ryan's opening scene so it would give it an ugly hazy (blooming sky light in particular) look, along with lowering the shutter angle (which lowers the shutter speed) so there would be less (no) motion blur, which would make the footage "choppy" to look at.
Incredible cinematographer who luckily has always done great films. And I actually think that either Kaminzki for West Side Story or Delbonell for The Tragedy of Macbeth should have won last year. And despite Lincoln being his best work in my opinion I understand that Life of Pi won.
It was a pleasure watching this video. I didn't realize that these different films were still used just not that many years ago. tHanks for the video. (my videos use little lighting. In fact, UA-cam has commented that they would be better if I simply shot them in the dark. "But then nobody would see them?" I asked).
The fact that kaminski is focused on emotion rather than quality is a game changer for the experience. Nowadays, we want to film in 8k just because our televisions can handle it
He made an art form out of blue anamorphic lens flares on West Side Story, particularly Tony and Maria's first courtship behind the bleachers in the gymnasium--gorgeous.
Januz Kaminski WAS a master cinematographer until he participated in a rubbish rebooting of the WEST SIDE STORY with the ' iconic ' director, Steven Spielberg lol.
![[UA] NAVI проти G2 Esports | Blast Premier Fall Final](http://i.ytimg.com/vi/QWlIm4FGESQ/mqdefault.jpg)
I worked with Janusz when I was a kid on A.I., my one takeaway was that he always requested as much haze as was physically possible at all times 😂
Thats wonderful to hear. A.I. is my favorite Spielberg and among my top favorites of Kaminskis
One of the things Kaminski does when shooting the "Hollywood-style" lighting/ambiance is to use diffusion filters; he used to do the Douglas Slocombe (Spielberg's cinematographer for the OG Indiana Jones movies) method of stretching ladies pantyhose over the front of the lens - this diffuses the highlights greatly, and creates a soft, glossy sheen to the lighting; making a sort of "halo" effect. He did this for A.I. because he found the Zeiss lenses he used for that film to be a little too sharp for the story. Nowadays, I think he just uses normal soft filters for diffusion. Once you notice this look, you can see the heavily diffused lighting in some scenes in Minority Report and War of the Worlds, as well.
I think Kaminski's shooting style is associated with Spielberg because he's been his defacto DoP for over two decades now: Spielberg likes to use wide lenses - when shooting spherical, he tends to stay in the 20mm range; so 20, 21, 24, 27, 29mm, etc. I've read that Spielberg's workhorse focal length is the 21mm Panavision Primo when shooting spherical. Although he has been known to use wider focal lengths, like the 14 or 17mm. Even though he's not a big long lens guy; Spielberg will occasionally use a longer lens (like an 85 or 100mm) for additional coverage. He tends to not use the middle focal lengths (like the 35, 40, 50mm) as much. Kaminski says that when he shoots glamour shots; he personally likes using a 50mm and longer.
When shooting anamorphic it is much the same story: Spielberg likes to use the 35, 40, 50mm lenses; which is on the wider end with anamorphic lenses. Unless it is for additional coverage, or for certain shots, anything over 50 or 55mm is not used that much in anamorphic on a Spielberg film.
Spielberg does not like zooms, and will avoid using them in most cases - Kaminski said he practically had to beg him to use a zoom on Munich, and he only agreed because it was a story that took place in the 1970s, and there was an espionage aspect to it.
I think the reason Spielberg likes working with Kaminski is because he good at what he does; if he wants his film to look a certain way, Kaminski is proficient and skilled to give him the look he wants, with the ability to improvise and plan to get the result he wants, reliably.
If a director likes working with a cinematographer, they will want them to work for them as often as they can, because they are able to work very well with them. In Janusz Kaminski's case: he is to Steven Spielberg what Roger Deakins is to The Coen Brothers.
Thank you for this in-depth (😉) comment. Very informative and much appreciated 👊
@@bulentozdemir No problem. You're very welcome.
thanks. I love these info
Yes! You did it! He's such a legend. In a world which each cinematographer tries to be natural Kaminski shines as a pure formalist
"shines" Pun intended?
@@Whoa802 yep
Please do more Cinematography Style videos about John Schwartzman, Dan Mindel, Dariusz Wolski, Jan de Bont, Jeffrey L. Kimball, Andrzej Bartkowiak, Amir Mokri, Larry Fong, Oscar Faura, Salvatore Totino, Wally Pfister, & Dean Cundey.
It's incredible how Kaminski and Spielberg were able to adapt to modern technology while maintaining their old-school style
No joke. I heard his cinematography on Cool as Ice, that embarrassing Vanilla Ice vehicle, is the best thing about the movie.
He' created so many visually pleasing cinematic masterpieces and some grim images of reality with some of the dark subject matter that the movie deals with but isn't necessarily and ugly image it's just a more realistic true to life image, He really knows well his craft and is a genius in creating images that are unique and that speak to your heart and really make you feel.
Finally a video on my all time favorite cinematographer
For the combat scenes in Saving Private Ryan Kamiński set up the camera shutter angle at 45 angles or 90 angles, insted of the usual 172.8, giving the image a punchy, hyper realistic look, that made the combat look more rough and violent.
I feel Jerry Maguire was a blueprint of how romcoms should be photographed.
His work in WSS is outstanding, masterful.
Hi, I'm enjoying your "Cinematography Style" series. You often ask for suggestions for other subjects. How about a couple of British cinematographers, both called Freddie. Freddie Francis and Freddie Young. Keep up the good work!
Awesome! Lets get a Robert Richardson Cinematography Style.
Schindler's List contains one of the best cinematographic works of Kaminski..... So does Saving Private Ryan
Don’t know much about Kaminski, but def love his collaborations with Spielberg. Thanks for making the vid. They’re always spot on 🙌
I maintain that Kaminsky is not the right DP for Spielberg. Sure, now that time has passed, things are what they are… but Kaminsky is too flashy, too noticeable, and that only works in certain scenes (fountain scene in The Terminal, etc) or some rare movies like West Side Story where things are fantastical.
Spielbreg’s DP style will always be Dean Cundey type cinematography
I cannot stand his style; I respect that he's made a career for himself, but I cannot deal with the hazy, halo like lighting that Kaminsky likes. I thought the last Indiana Jones looked awful.
Outstanding analysis of one my favourite cinematographers. Since you are taking requests on subjects for your videos. An analysis of an old school DP would be fascinating. I know this could be a great challenge considering many films and resources could be very difficult to find on them. However, I find a lot of old school DP's are not talked about very often in this day and age. I have two that I have admired over the years through my cinematic journey: Geoffrey Unsworth and Lucien Ballard. Both hall of fame cinematographers have worked with Kubrick, and both of them have done some amazing films outside of the masters filmography such as Superman, The Wild Bunch, Murder on the Orient Express, and Nevada Smith.
Kaminski is the GOAT. Hoping to see a video on Dan Mindel & Rodrigo Prieto!
you have the best videos regarding Cinema, every time.
Thx for Thais Compact Informations. Kaminski is Not the only one famos Polish DoP..
I'm a filmmaker (aspiring?) and I mainly write and direct and shoot corporate videos by myself but your channel is one of the few cinematography-focused channels that I subscribe to because I throughly enjoy your breakdowns and learn so much technical knowledge, history, and I gain so much respect for cinematographers and film crews in general. Keep up the fantastic work!
Thank you! It's inspirational to learn from these masters, and your curation and structuring give a really good insight in this short time :)
Thank you for your efforts to tell us this lessons! It can not be overestimated.
Private Ryan was his last good movie. Every one since has looked like shit
I love these videos, I learn so much about how to visually tell story's in different environments with different methods. I like to combine loads of styles and pick out the things I like the most from each inspiration source. I am still in school, but I know more about storytelling than my classmates. Partly thanks to you! So thank you, I really appreciate you and your work 👌
Thanks for your incredible work, as always it help a lot. Thank you very much In Depth Cine
This needed to happen, thank you!
Please make a video about super 8 and 16mm
I'm a little confused by the narrative you're painting.
Kaminski single-handedly shot some of Spielberg's most extreme and over-the-top "Hollywood Glamour" style movies (A.I, WAR HORSE, CATCH ME IF YOU CAN) while also deconstructing it in films he made EARLIER with Spielberg (SCHINDLER'S LIST and SAVING PRIVATE RYAN).
Kaminski makes Spielberg's prior team-ups with Hollywood-glamour cinematographers like Allen Daviau, Douglas Slocombe, Vilmos Zsigmond and Dean Cundey seem absolutely tame by comparison. Their work, while being top-of-the-line in the Hollywood aesthetic, still strived for a painterly realism whereas Kaminski blew past that and straight into a kind of photography that felt like the second coming of the 1970's pro-mist phenomenon.
I'm not sure how Kaminski can "deconstruct" Spielberg's style when, after doing it, he reverted to Spielberg's style harder than anyone has ever done before to an eye-wateringly intense level.
Any Video about [Underground Rail Road] Cinematography please ,
Request
Surprised to see that you didn’t acknowledge his major contributions to The Wonder Pets episode “Save the Crane” Season 4 Episode 13. A true masterclass in cinematography.
@ 10:50 minutes - along with the film stock, he had Panavision strip the coatings off the lenses for Saving Private Ryan's opening scene so it would give it an ugly hazy (blooming sky light in particular) look, along with lowering the shutter angle (which lowers the shutter speed) so there would be less (no) motion blur, which would make the footage "choppy" to look at.
please do cinematography style: Bill Pope
Great suggestion!
Incredible cinematographer who luckily has always done great films.
And I actually think that either Kaminzki for West Side Story or Delbonell for The Tragedy of Macbeth should have won last year.
And despite Lincoln being his best work in my opinion I understand that Life of Pi won.
It was a pleasure watching this video. I didn't realize that these different films were still used just not that many years ago. tHanks for the video.
(my videos use little lighting. In fact, UA-cam has commented that they would be better if I simply shot them in the dark. "But then nobody would see them?" I asked).
Could you do a video about the Cinematoraphy style of Robert Richardson
Great video, you ever thought about doing an episode on Peter Pau sometime?
IDC ......................an old one The Big Country ?????????
really great work. nothin but respec
You should make one on Jack Cardiff!!!
You sound a little sick feel better soon!
Incredible & Thanks :)
Could you do one on Dante Spinotti🙏🏾
Are you south african?
great stuff....thanks for sharing
Fantastic. Thank you
Igor Martinović
One of the GOAT
The fact that kaminski is focused on emotion rather than quality is a game changer for the experience. Nowadays, we want to film in 8k just because our televisions can handle it
He made an art form out of blue anamorphic lens flares on West Side Story, particularly Tony and Maria's first courtship behind the bleachers in the gymnasium--gorgeous.
Januz Kaminski WAS a master cinematographer until he participated in a rubbish rebooting of the WEST SIDE STORY with the ' iconic ' director, Steven Spielberg lol.
did anyone like this movie? i couldn't stay awake lol
I told you to stop going back for seconds. That egg salad or whatever it was has something devious in it. Hello? Did you hear anything I said?