Talks with Hollywood's. Cinematographers and Gaffers by Kris Malkiewicz assisted by Barbara J. Gryboski drawings by Leonard Konopelski. A FIRESIDE BOOK. Cinematography: Third Edition: The Classic Guide To Filmmaking, Revised And Updated For The. 21st Century By Kris Malkiewicz, M. David Mullen Asc pdf. Cinematography: Third Edition Kris Malkiewicz, M. David Mullen ASC. The Essential Guide Read Online Cinematography: Third Edition pdf. Download and.
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Find out more about Cinematography by Kris Malkiewicz, M. David Mullen ASC at Simon & Schuster. Read book reviews & excerpts, watch author videos. Newly revised and updated, Film Lighting is an indispensible sourcebook for the aspiring and practicing cinematographer, based on extensive interviews with. Basic Cinematography. Prof. Cinematography Has Specihic Techniques. The Black Swan . Malkiewicz, Cinematography, Simon & Schuster, • Frames.
Whether it is a contemporary comedy, a thriller, or film noir, the style is there. Now it is for the cinematographer to give the interpretation.
You can have Tom Cruise walking into a dark basement and finding out that somebody is living there. So you have a dark basement, but how far will you take the darkness? In the case of War of the Worlds we were working with lots of colors. It was a little bit of an homage to the old horror movies. So there were reds, there were greens, there were yellows, that kind of stuff.
In Minority Report, which is a futuristic movie, there was a void of colors. The images were grainier. The colors were very much desaturated. I was calling it a modern film noir. It was still relatively dark, but we were playing with the color. It was very sleek but not glossy. Again, you start with the script and you are putting your own twist on what the writer is writing.
I always say it is all in the script, if you have the ability to read the script and digest the script and send it through your body, through your knowledge, through your mind, and then come up with your own interpretation of the story. What has shaped your individual aesthetics and ability to understand and interpret the story? The things you like and the way you receive and interpret what is around you shape who you are.
And that is unique. Viewing movies together is the most immediate way of having some common points of reference when discussing style. Good knowledge of a wide range of painters and photographers is the next important step in facilitating the communication between the director and the cinematographer.
Being able to describe a certain style as one resembling that of a given painter or knowing where to look for examples of a palette of desired colors helps immensely in arriving at a mutually understandable idea for the visual look of the film. Every situation is different. For pictures like Sounder or Conrack or for a picture like Norma Rae, I did look at some paintings and some books and drawings of the South to get an idea of a kind of look.
I would show them to the director and I would say, What do you think of this Andrew Wyeth or these Shrimpton paintings, does this give you any thoughts, is this the kind of look that you are thinking about? He says yes or no.
So I use those. In pictures like Blue Thunder or Black Sunday there is really no artistic or aesthetic design to those pictures.
It is a matter of recording what actually happens. There is a wide spectrum of directors with diverse backgrounds and experience. Therefore, the collaboration with the cameraman will take various forms. Some directors will need more help than others in developing the visual sense of a scene. They are wonderful writers, they know a lot about life and the human equation, and people have given them the opportunity to translate that into a film.
They are so insecure. It depends on the director you get.
Others are people who are knowledgeable visual artists as well as artists in every other sense. You work with them differently. They know exactly what they want.
They need you less. Adam Holender, who often works with first-time directors, puts them in two basic categories: People in this second group are usually more experienced technicians.
Like every other collaboration, working with first-time directors depends a lot on the personalities involved. But one typical problem to be aware of is the degree to which the cameraman assists the director in matters other than cinematography.
At a certain point in the production the invitation to offer suggestions may not exist anymore, but the cameraman may not know when to stop. The director grows weary of advice, and such help may start to annoy him. The first-time director may see these limitations as shackles. He may also have to be convinced that certain risks should be shared. This is sometimes referred to as television mentality, where the range of artistic possibilities on the scale of one to ten becomes, say, four to six.
Most cinematographers are very much aware of the creative discipline necessary to maintain the established style and to serve the story in the best possible way. Though the cinematographer has an important role in the production, the principal storyteller at this stage is the director. It is a very strict rule with me that I do not allow myself to get so in love with the frame and the lighting that it subordinates what the director is trying to do.
And if I spend six hours lighting a set that looks beautiful to another cameraman but does not mean anything to the story, then I am not doing my job for the director. The power of cinematography lies in the immense possibilities of interpreting reality even within a given concept. You need a certain sense of reality, but in fact you are doing a movie and you are making a statement with the light and with the composition and camera movements and all those things at your disposal as a cameraman.
Your first impression should be that it is real for the story. But you can get away with an awful lot. What Vittorio Storaro did in One from the Heart with colored light was incredible. To an extent, it was a reality but it really was hyperreality. It carried beyond conventional reality, but you accept it because of the nature of the story. There is no reason why you cannot carry that sort of thinking to even more realistic settings.
Obviously as an audience you do not want to be taken out of a scene by some extreme photographic element, but you certainly want it to carry you along. There are things you can do where you exaggerate reality and create a sense of life; if you would truly study it, you would realize that it is not real, and yet your mind accepts it as being real.
I think that is really what you are going for. You are going for a way of taking the greatest advantage of all the tools that you have at your disposal to create the drama, to amplify the drama. Sometimes it means exaggerating things enormously and getting away with it because the audience is carried away by the scene.
But if you are telling a story and you are in sync with the story, then you can get away with an awful lot. I think that the best camerawork does that. It will make these judgments, it will stretch its reality for the sake of telling the story. Often the sets or the location will dictate the visual approach to the story.
What happens photographically springs a lot from what is demanded of the photographer: Style comes from where you are personally. Right now as I am talking to you, I would love to shoot a scene where there is a real bright hard sunlight just cutting through on the furniture and on the clothes. The faces are almost dark. If you are in this kind of mood when you read a script, you may actually talk yourself into believing that this particular script would look best this way.
It may or may not coincide. You have to bear in mind that you are not the total maker of the film. You will have to talk to the director and the art director and anyone else who has invested in it.
In Fat City, the idea of extraordinary tonal variations was like a style for a picture. The interiors—bars and places like that—were very, very dark, so you have a sense of blackness. And then when you come outside, I made the exteriors all very bright and glaring, like a lizard who comes from underneath a rock, a salamander that is blind because it has been hiding underneath a rock, it has not seen the light of day.
I wanted the light to be harsh and strong and abusive.
And so you go for the range, you go for the contrast. You go for the soft, dark, muted effect inside, and then when you come outside, you go for the bright, brilliant harsh tones. And when those things are cut together, they create a kind of emotional sense, which is productive for the storytelling. You approach every project from the spirit of the film. Once you get the spirit of the film, then that determines everything for me.
On The Day of the Locust the decision to have it all shot in a warm, golden tone was made right away. Those are the broad strokes. You decide whether you are going to make this a gritty, documentary kind of look for the film about the 90 percent of people who fail in Hollywood, which is what The Day of the Locust is about: Just 10 percent are working and doing good and thriving in the heat of the flame. So that is a hard story. You could do it gritty. Black and white would be wonderful, because it is a period piece.
Sometimes I think that is what we should have done, now that I look at it. That is not what we decided to do. The decision was to make it golden to create not their reality but their dream.
So you saw them living in their little apartments and they were happy living in their golden dream of maybe making it one day. John Alonzo describes another example of lighting in opposition to the subject matter, for stronger impact. We are going to try to do Scarface in soft light because Brian [ De Palma ] wants it this way. It is a drama, a melodrama.
It is violent and very dramatic, but he does not want to light it that way. He wants to light it soft and pretty. I want the frame to look pretty, and the people to look pretty. And then we see that they are violent people. You have an overall picture, an overall script, and then you go from A to Z. Our price:. The Essential Guide to the Cameraman's Craft Since its initial publication in , Cinematography has become the guidebook for filmmakers.
Based on their combined fifty years in the film and television industry, authors Kris Malkiewicz and M. David Mullen lay clear and concise groundwork for basic film techniques, focusing squarely on the cameraman's craft. Readers will then learn step-by-step how to master more advanced techniques in postproduction, digital editing, and overall film production.
This completely revised third edition, with more than new illustrations, will provide a detailed look at: How expert camera operation can produce consistent, high-quality results How to choose film stocks for the appearance and style of the finished film How to measure light in studio and location shooting for the desired appearance How to coordinate visual and audio elements to produce high-quality sound tracks Whether the final product is a major motion picture, an independent film, or simply a home video, Cinematography can help any filmmaker translate his or her vision into a quality film.
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