![]() While they don’t always see eye to eye on choices, they each value the other’s personal aesthetics as a way to make the whole of their films stronger.ĭeakins takes more of a workman’s approach to getting the job done. After all, he is a close, regular collaborator with Steven Spielberg. This philosophy bears out in his approach to filmmaking. ![]() The maestro argues that DPs should passionately embrace the artistic conversation from the outset. He pulls his own ideas for painting a scene with light from his emotional, creative attachment to the project. If you watch a movie he shot, then you are seeing bits and pieces of himself. While not particularly positive, it wasn’t exactly a lamentation. Still, for an avid painter and still-photographer, I imagine that love and loss is a bit more affecting than he lets on.Ī month ago, I talked a bit about some remarks from Janusz Kaminski, two-time Oscar-winning cinematographer, at the NAB (National Association of Broadcasters) regarding his outlook on the future of digital tools and his profession. The job is the job, and the tools are the tools. What did he have to say about the demise of film? “I love film… but things move on.”ĭeakins comes across as very much the pragmatist. Roger Deakins, (finally) an Oscar-winning DP, recently gave an interview with IBC365, talking about his career and the evolution of the tools of the trade. ![]() After all, if much of what is captured can be changed in post, then quite suddenly the post-production team has a much larger ability to influence the in-camera contribution of the cinematographer. The new tools have certainly brought more cooks into the kitchen. From film reels and glass to digital sensor plates which capture everything.ĭigital cinematography has been a bit of a sea change for the profession. However, in the last century, the tools which allow these professionals and artists to capture the light have been constantly changing. ![]() At the most basic, the cinematographer is an artist of light and shadow. ![]()
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