Man, this is great. Just the right amount of information to get a beginner started without making them spend a ton of cash ahead of time. As a beginner myself who has spent tons of hours watching content on UA-cam made by way bigger channels, I still learned new tricks from you with this video that will definitely make a difference. Great job ;)
One of my favorite scenes ever, glad to see you making a video about it. I have looked up how it was lit in the past and actually think Deakins himself has given conflicting answers, at one point saying it was a single bounced light as you have here, and another time he has said it was a small cove light set up. Either way, you tutorial was very helpful, would like to see you do even more Deakins recreations, or possibly something from a Fincher film like The Social Network.
Oh really? on his website? I guess when you shoot so many movies it's difficult to remember what you did exactly. Thanks a lot! I must admit I never saw "the social network" but it's on my list, David Fincher is one of my favorite director tho
great vid; I actually thought the opposite of of the shots in terms of likeness. It felt like you created a dope silhouette for both characters but I think the woody Harrison scene has a fill light as well that’s separating him from the background and decreasing the sharpness
Salut ! Très bonne vidéo explicative ! À combien règles tu la balance des blancs de ta caméra ? Et quelle température pour ta lumière principale ? Car j’ai cru comprendre que le muslin réchauffait considérablement la lumière ( -1400 k )
Salut! Merci beaucoup 😊 C'est une excellente question, à laquelle je n'ai pas la réponse. Je viens de regarder et concernant le unbleached muslin toutes les sources disent une variation en Kelvin différente. Certains -1400, d'autres 1100 j'ai même vu 500. En tout cas dans cet exemple je me suis calé sur 4000k je pense, ma source étant du 3200 ca l'a réchauffée et avec le unbleached muslin encore plus. Je pense que dans ce genre de cas il vaut mieux expérimenter par soi-même et voir ce qui nous plait personnellement.
I think you just needed the bounce material closer to the talent to get a better softness of the shadows. But like you said, needed to rig the bounce muslin on the ceiling, and have a tweenie hanging on a boom arm/menace arm.
If we look at the nose shadow we can see that the bounce is not higher than mine in my opinion. I think it just needed to be a little bit closer as you said yes! You knew Deakins used a tweenie or pure coincidence?😁
Actually you're right, looking back at the original footage Javier and Woody's no shadow does make the source appear side lit rather than a Rembrandt style. So I was wrong my bad. However what I will say though is that Deakins himself confirmed using a 650 tweenie in these exact shots. On the website "cinegleaner" it breaks down the lighting in No Country with specific shots for example. It sources Deakin's own website where he admits most shots including this scene here that they were lit with tweenies or a baby junior in most night interior shots to supplement tungsten lamps. He had a pattern using tweenies if it's a close ups of characters, and used a 1k if the shots were wider to make up for the inverse square law.
You are the most wholesome UA-camr I have ever seen. Thanks for the valuable information
Man, this is great. Just the right amount of information to get a beginner started without making them spend a ton of cash ahead of time. As a beginner myself who has spent tons of hours watching content on UA-cam made by way bigger channels, I still learned new tricks from you with this video that will definitely make a difference. Great job ;)
Glad to read this! Thank you very much, this means a lot to me! 🙏🏼
best video on cinematography, short and accessible. iconic.
I love this comment! Thank you very much! 🙏🏼
Love your content, your presentation, your whole vibe. Thanks my man ✌️
Thank you very much, I appreciate it a lot! 😊
I missed that old red head 😄 Thank you for sharing your knowledge 🫶
Je l'ai réadopté la petite orpheline 😂❤️
great video! love this technique... Deakins forever.
Thank you very much! Yes, Deankins* forever ahah
Muchas gracias!! Te escribo desde argentina ❤
This is why youtube is cool! Graçias! 🙏🏼🥰
One of my favorite scenes ever, glad to see you making a video about it. I have looked up how it was lit in the past and actually think Deakins himself has given conflicting answers, at one point saying it was a single bounced light as you have here, and another time he has said it was a small cove light set up. Either way, you tutorial was very helpful, would like to see you do even more Deakins recreations, or possibly something from a Fincher film like The Social Network.
Oh really? on his website? I guess when you shoot so many movies it's difficult to remember what you did exactly.
Thanks a lot! I must admit I never saw "the social network" but it's on my list, David Fincher is one of my favorite director tho
Really great video thanks. Shot at 10:14 is beautiful
Also, calling him Dinkins from now on :)
Thank you very much! 🙏🏼😊
Man I swear I always said Deankins, I discovered It was wrong like a few months ago 😂
Again - amazing! Please keep the videos coming! :)
Again - thank you for commenting, it gives me the will to do more! 😁 ✊🏼
Thanks for your lesson 👍
Thank you for your talent! ❤️
love this mate!
Thanks man! 🙏🏼
This is great I boldly say you nailed it bro
I loved it! Thank you very much man! 🙏🏼
Beautiful work, mate! And so helpful. Can't wait to try out some of these ideas on my next shoot 🙏🏻
Thanks man!🙏🏼 I'd like to see it if you use those ideas. Feel free to show it to me through instagram 😊
salt and pepper) I like it
Bro u so good. I like your natural personality. Good job and good luck
Thanks man! I appreciate it a lot 🙏🏼😊
great vid; I actually thought the opposite of of the shots in terms of likeness. It felt like you created a dope silhouette for both characters but I think the woody Harrison scene has a fill light as well that’s separating him from the background and decreasing the sharpness
Thanks! Decreasing contrast you mean? If I got your comment right
Great work!
Thanks man! 🙏🏼
Wonderful video.
Thank you very much! 🙏🏼
Nice video thank you 💐🙏
Thank you very much! 😊🙏🏼
Great vídeo
Thank you very much! 😊
What is you’re missing is that beautiful wraparound
Tell me more, What would you do in this case? 😊
If the character on the right would sit a little further and a little closer to the wall you would get the wrap around.
You're right 👌🏻
very good my man!
Thanks man! 🙏🏼
Salut ! Très bonne vidéo explicative ! À combien règles tu la balance des blancs de ta caméra ? Et quelle température pour ta lumière principale ? Car j’ai cru comprendre que le muslin réchauffait considérablement la lumière ( -1400 k )
Salut! Merci beaucoup 😊 C'est une excellente question, à laquelle je n'ai pas la réponse. Je viens de regarder et concernant le unbleached muslin toutes les sources disent une variation en Kelvin différente. Certains -1400, d'autres 1100 j'ai même vu 500.
En tout cas dans cet exemple je me suis calé sur 4000k je pense, ma source étant du 3200 ca l'a réchauffée et avec le unbleached muslin encore plus.
Je pense que dans ce genre de cas il vaut mieux expérimenter par soi-même et voir ce qui nous plait personnellement.
@@DennySaladinomerci pour ta réponse ! Je t’avais dm sur insta mais t’as été plus rapide ici haha
Ah zut! sorry 😅
Thanks a lot
Thank you! 🙏🏼
The goat posts another biblical post
Ahah thanks a lot! 😁🙏🏼
wow
This is the only word I need 😁 Thank you!
I think you just needed the bounce material closer to the talent to get a better softness of the shadows. But like you said, needed to rig the bounce muslin on the ceiling, and have a tweenie hanging on a boom arm/menace arm.
If we look at the nose shadow we can see that the bounce is not higher than mine in my opinion. I think it just needed to be a little bit closer as you said yes!
You knew Deakins used a tweenie or pure coincidence?😁
Actually you're right, looking back at the original footage Javier and Woody's no shadow does make the source appear side lit rather than a Rembrandt style. So I was wrong my bad.
However what I will say though is that Deakins himself confirmed using a 650 tweenie in these exact shots. On the website "cinegleaner" it breaks down the lighting in No Country with specific shots for example. It sources Deakin's own website where he admits most shots including this scene here that they were lit with tweenies or a baby junior in most night interior shots to supplement tungsten lamps. He had a pattern using tweenies if it's a close ups of characters, and used a 1k if the shots were wider to make up for the inverse square law.
Really cool man, thanks for the informations!
What do you use to get the false colour?
I'm using a plugin in Davinci Resolve, but can't remember wich one. It was a free one, maybe the Dehancer one
🔥🔥
Hey Nico! 😁✌🏻
🤩🤩🤩
🙏🏼🥰