January 13, 2022

Greig Fraser, ASC, ACS on Dune, using digital technology, working with director Denis Villeneuve and director Kathryn Bigelow

Director of photography Greig Fraser says that cinematographers always strive to create images with dimension, so that audiences are able to experience almost feeling and touching what they are seeing. Film has always had the dimensional and realistic feel that filmmakers appreciate, such as grain and color. But with today’s advances in digital filmmaking technology, Greig understands and embraces using the tools that are appropriate to the project he’s working on, and the technology just keeps improving. For Greig, no matter what he’s shooting or how technical it can be, what draws him to every film project is the characters in the movie.

On Dune, Greig and director Denis Villeneuve tested on film and also on digital, but they didn’t like either look that much. They decided to take a hybrid approach: the film was shot on digital, then output to film, and then back out to digital, which gave it the look they wanted. Villeneuve was a huge fan of Dune the novel, and had a clear vision of what his version of the Dune story should be. He extensively storyboarded the film in pre-production, and they did not reference the previous Dune movie at all. During the shoot, Greig and the VFX supervisor Paul Lambert championed getting the lighting exactly correct with the blue or green screen background so that the shots and perspective would look the most realistic and there would be very little adjustments needed in post production.

Greig also talks about using the iPhone 13 ProMax to shoot a demo film with director Kathryn Bigelow. The phone has several camera options that make it cinematic, and he finds that phones are getting better and better to shoot with.

Greig’s next film is The Batman which will be released in March.

Find Greig Fraser: Instagram @greigfraser_dp
Twitter: @GreigFraser_dp

You can see Dune in theaters now, on Blu-ray, or soon returning to HBOMax.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep154/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

Sponsored by Arri: https://www.arri.com/en

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

October 27, 2021

Ruth Platt, director of Martyrs Lane on writing and directing the horror thriller

When director Ruth Platt first wrote and developed Martyrs Lane, it started off as much more of a horror film rather than a psychological thriller. She had the opportunity to develop the film into a feature from a short through BFI, the British Film Institute. In its feature form, Ruth pulled Martyrs Lane into a more unsettling ghost story that’s told from the point of view of Leah, a 10 year old girl, who lives in a large old house with her family. Her mother always seems very sad and distant, and Leah doesn’t know why, until a strange nightly visitor gives her a new clue to unlock every night.

The visual palette of Martyrs Lane has a timeless and impressionistic feel, creating an atmosphere of hovering between the conscious and unconscious world. The house Leah and her family lives in is a reflection of the interior and exterior world of the family. Ruth knew that finding the perfect “haunted house” was key, and they were lucky to have found the perfect location. With two inexperienced child actors as the leads in the movie, Ruth focused on trying to keep the lines sounding natural instead of scripted, and kept the kids energy up in between takes and setups. Because she and the crew only had a short amount of prep time for the movie, they had to creatively problem solve for a few issues and were able to do almost all the special effects in camera.

You can see Martyrs Lane on Shudder.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com//ep145/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com

Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/
Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

September 1, 2021

Director Ferdinando Cito Filomarino and DP Sayombhu Mukdeeprom discuss the Netflix film, Beckett and their close collaboration

Director Ferdinando Cito Filomarino and cinematographer Sayombhu Mukdeeprom have worked together on Call Me By Your Name and Suspira. Ferdinando served as the second unit director on both films. Beckett is the second feature Ferdinando has written and directed. Sayombhu also shot Ferdinando’s first feature, Antonia, and was Oscar-nominated for his cinematography on Call Me By Your Name. Prior to his experience working with Ferdinando and director Luca Guadagnino, Sayombhu built his cinematography career in Thailand, shooting films such as the Cannes festival winner, Uncle Boonmee Who Can Recall His Past Lives directed by Apichatpong Weerasethakul.

Beckett is a thriller, reminiscent of Alfred Hitchcock films, starring John David Washington as an American vacationing in Greece with his girlfriend, played by Alicia Vikander. After a tragic accident, Beckett is pursued by the police and drawn into a political conspiracy while being chased across the country. Ferdinando intended to have the film nod at Hitchcock, but he wanted to stay away from the heightened, perfectly choreographed elements of Hitchcock movies such as North By Northwest, where every scene is a spectacle, with amazing set pieces following one after the other. For Beckett, Ferdinando liked the idea of shooting everything with very natural light, keeping the movie grounded and not quite so heightened. As a hero, Beckett is relatable and believable- when he fights or runs, he sweats, gets out of breath and becomes seriously injured, and all of the action sequences are grounded in reality.

Sayombhu enjoys shooting films using natural light, preferring to reshape or bounce sunlight. If he has to use lights, he uses as few as possible, and in a way that’s almost invisible. He also prefers to light the environment rather than the actor, to give them space to move around, so that they can live in the moment and he can capture it as it happens. When Sayombhu scouts locations, he uses his eyes and his gut feeling to explore the place and memorizes the kind of natural light available, noticing potential issues before figuring out how to overcome them.

To have a good rapport with a director, Sayombhu suggests listening to the director first, and only then make a suggestion that would make it better. Ferdinando enjoys collaborating with Sayombhu because they both understand the importance of preparation during pre-production and research, and they have similar taste in filmmaking and visual language.

You can watch Beckett on Netflix.

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep138/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Sponsored by Aputure: https://www.aputure.com/

The Cinematography Podcast website: www.camnoir.com
YouTube: https://www.youtube.com/c/TheCinematographyPodcast
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz

August 2, 2020

Greig Fraser, ASC, ACS on The Mandalorian, Lion, Rogue One: A Star Wars Story and more

The Cinematography Podcast Episode 85: Greig Fraser

World-renowned director of photography Greig Fraser grew up in Australia, working as a still photographer before he moved into cinematography, shooting shorts, TV shows and films for several Australian directors. Greig’s most recently completed project is The Mandalorian, which recently earned him an Emmy nomination. At first, Greig felt incredibly nervous about working on the frontline development for The Mandalorian because of the massive amount of technology involved. His usual approach as a DP has been naturalistic lighting, in a real setting, rather than an entirely manufactured environment on a soundstage. The Mandalorian brought together gaming technology and set design, which could only be done with the support of ILM and Lucasfilm. The Star Wars series used 3D digital environments built with Epic Games’ Unreal Engine gaming technology that was capable of interacting with the cameras and was projected on huge LED screens for very realistic backgrounds on the soundstage. Greig was not a Star Wars newbie- prior to The Mandalorian, he was the cinematographer of Rogue One: A Star Wars Story. As a fan of Star Wars, Greig felt some trepidation at first about shooting Rogue One, because he was worried about losing that passion in the day-to-day while on set. Greig met with Rogue One director Gareth Edwards and loved his early film Monsters, so he was convinced to take the job. Grieg also discusses his work on the 2016 film, Lion, for which he received an Oscar nomination for Best Cinematography. Greig was extremely excited to shoot Lion- he and fellow Australian director Garth Davis had worked together a number of times. As a photographer, Greig had traveled and shot in India, and he loved being able to return to India and Melbourne to shoot such a great story. For Lion, Greig and Garth Davis wanted to be very respectful of Indian culture, and be careful of their choices not to oversensationalize images of poverty. Greig shot many of the railway scenes in the film at the level of a small child to capture the character Saroo’s feelings of loss and helplessness.

Grieg Fraser is the cinematographer of two hugely anticipated films coming soon: Dune with director Denis Villeneuve and The Batman, directed by Matt Reeves.

Find Greig Fraser: Instagram @greigfraser_dp

Find out even more about this episode, with extensive show notes and links: https://camnoir.com/ep85/

Sponsored by Hot Rod Cameras: www.hotrodcameras.com
Website: www.camnoir.com
Facebook: @cinepod
Instagram: @thecinepod
Twitter: @ShortEndz