“The Art of Silently Weeping While Pulling Focus at the Same Time”: DP Nick Higgins on Shooting Robin Williams: Come Inside My Head?

By Filmmaker Staff

Following Water & Power: A California Heist in 2017 and Roman Polanski: Wanted and Desired in 2008, Marina Zenovich returns to Sundance for a third time with Robin Williams: Come Inside My Mind, her documentary on the late comedic maestro. Documentary DP Nick Higgins served as one of four cinematographers on the project. Higgins was the sole DP on O.J.: Made in America and has more than 50 cinematography credits to his name. Below, he shares his thoughts on lighting documentary subjects and why he prefers to shoot interviews with a single camera. Robin Williams: Come Inside My Mind screens four times at Sundance 2018. Filmmaker: […] → continue…

From:: Filmmaker Magazine

“Call Me By Your Name” – A Feature Film Shot with Only One 35mm Lens

By Jakub Han

Call Me By Your Name is a 2017 feature film directed by Luca Guadagnino shot around the city of Crema in Italy. What makes the cinematography of this feature interesting is that it was completely shot using only one 35mm lens.

Call Me By Your Name, Source: imdb.com

Thai cinematographer Sayombhu Mukdeeprom, who shoots only on film, was glad to work as DP with the director on this romantic drama, and he appreciated the light conditions available as he walked around the locations prior to the production of the movie. Shooting the whole film with only one lens contributed to the simplicity of its cinematography.

Initially, this idea did not come from the DP itself, but from director Luca Guadagnino. Mukdeeprom gladly accepted the challenge, as he wanted to focus on different aspects of the cinematography other than the choice of focal length for each scene. In his own words Mukdeeprom said: “The producer asked me, should there be some other, wider lens? Just in case? I said ‘No, no. I want to tie my hand to this approach, because this is how I work. I think if you limit yourself to something, you struggle inside your idea”. I agree with him – by limiting one aspect of the puzzle, one can concentrate more on other aspects and therefore become more creative.

Mukdeeprom’s initial enthusiasm about the one-lens idea got him thinking. When he finally got the green light to employ it, he wasn’t so sure that it was right for the film at hand. For him as DP, it would mean a lot of extra work with planning the shots and knowing the film’s locations very well. But he kept at it and shot the film that way.

In this short cut-out from an interview Luca Guadagnino shortly explains what was the idea behind → continue…

From:: Cinema 5d


By D I did a post a few years ago called Freeballing which talked about freeform finding a shot when they don’t really know what they want. This happens when you usually have a montage piece and you find shots as they happen. I recently (last night) had a chance to revisit this situation and as it turns out, had a lot of fun doing it. This is literally when you as a dolly grip get a chance to be creative and, if you’re experienced, know what they might need in editing and can deliver. The setup was a mission control type room with a main character facing a huge screen. We had a technocrane swooping around over the various desks and my camera on a stabilized head “mowing the lawn” in front of him. As the scene unfolded, my main job was to stay out of the crane shot and keep them out of my shot on a longer lens. The instructions from the DP were to travel in on an angle and then travel out on a mirror angle. as this happened, and the crane shot changed, I had an opportunity to find shots. If the crane camera was on the right side of frame, I decided to give them a left to right tighter shot, which I knew they didn’t have yet.have but would be valuable. Although the DP or operator hadn’t really given me instructions, I saw an opportunity and took it. After we cut and moved on, the DP came up and said, “That was crafty.” I said , “Crappy?” and he said ,”No, crafty.” And I knew I did the right thing. This reinforced to me the importance of experience for a dolly grip. I knew what they didn’t have already, but would probably need and → continue…

From:: Dolly Grippery

Universal monitor & receiver system for the Teradek RT FI+Z controller

By Newsshooter Staff

With wireless systems becoming more affordable, there is a need for compact & ergonomic rigging solutions. As a cinematographer and DP by trade, Nicholas Wise understands the problems that ACs…

The post Universal monitor & receiver system for the Teradek RT FI+Z controller appeared first on Newsshooter.

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From:: News Shooter