Cinematographer Style - Writing with Light

[Sanjin Jukic]

Cinematographer Style - Writing with Light

Academy Award cinematographer Vittorio Storaro who won 3 Cinematography Oscars for The Last Emperor (1987), Reds (1981) and Apocalypse Now (1979) said in this short clip (link below) that every cinematographer can write with light. And then it's depend on cinematographer and his/her style how he/she can write with light. Film or digital camera is just a tool. Then we could say that a good or a bad RED footage/movie etc.. depends on the cinematograoher style. Somebody in a near future will write a book (or a lot of books) about that how we could achieve the best cinematographer style using the RED ONE camera with light (natural or artificial) to write/shoot our movies. Looking forward to read the best of them and learn a lot about the RED ONE and the future cinematography.

http://www.sanjinjukic.com/extras/storaro.jpg

Have a look on this Storaro's short interview (4.5 MB QT file)

http://www.sanjinjukic.com/extras/storaro.mov

[peter roehsler]

Sanjin, this is great reminder about what the craft is about!

[Sanjin Jukic]

Peter we should again meet soon maybe on the Naschmarkt, mail me private about your proposal.

[Martin Drew]

A short clip, but excellent content Sanjin.

M

[Daniel Reichenbach]

Cinematographer Style - Writing with Light

Academy Award cinematographer Vittorio Storaro who won 3 Cinematography Oscars for The Last Emperor (1987), Reds (1981) and Apocalypse Now (1979) said in this short clip (link below) that every cinematographer can write with light. And then it's depend on cinematographer and his/her style how he/she can write with light. Film or digital camera is just a tool. Then we could say that a good or a bad RED footage/movie etc.. depends on the cinematograoher style. Somebody in a near future will write a book (or a lot of books) about that how we could achieve the best cinematographer style using the RED ONE camera with light (natural or artificial) to write/shoot our movies. Looking forward to read the best of them and learn a lot about the RED ONE and the future cinematography.

http://www.sanjinjukic.com/extras/storaro.jpg

Have a look on this Storaro's short interview (4.5 MB QT file)

http://www.sanjinjukic.com/extras/storaro.mov

Storaro is one of the greatest or even the greatest cinematographer out there. For everyone on this site I recommend to read his books about light and color: http://amazon.com/s/ref=nb_ss_gw/103-4081550-0859055?url=search-alias%3Daps&field-keywords=vittorio+storaro&Go.x=0&Go.y=0&Go=Go

And by the way, about the colour RED he said: RED is the color of birth. Not bad for the RED revolution project isn't it...

[Tom Lowe]

I just got the Cinematographer Style DVD a couple weeks ago, and I am really looking forward to watching it!

Wow, I wonder if that Red/birth thing was taken into account. How did Jim or his team come up with red anyway?

[Sanjin Jukic]

Storaro is one of the greatest or even the greatest cinematographer out there. For everyone on this site I recommend to read his books about light and color: http://amazon.com/s/ref=nb_ss_gw/103-4081550-0859055?url=search-alias%3Daps&field-keywords=vittorio+storaro&Go.x=0&Go.y=0&Go=Go

And by the way, about the colour RED he said: RED is the color of birth. Not bad for the RED revolution project isn't it...


Good point Daniel. Now for all REDUSERS I shot a photo from Storaro's book set "Writing with Light", book 2 "COLORS", page 8 where he is writing about COLOR RED. Have a look at the photo below

http://www.sanjinjukic.com/extras/storaro_color_red.jpg

[Daniel Reichenbach]

Aren't this words beautifull?

[Sanjin Jukic]

Yes they are beautiful.

[Tom Lowe]

I gotta get that book!

[Daniel Reichenbach]

There are three of them, Light, Colors, Elements and a newer one The Sign of Destiny

[Sanjin Jukic]

Tom just place order in Amazon or similar. I do have Light, Colors, Elements.

[Seán_T]

I had a session with a well known "Art House director" on Friday and he said something that I dont hear too often in this movie sweat shop city.

I pulled up a shot that was one of the most beautiful shots I've seen in a long time, and someone in the suite said "it looks just like a painting!" (it really did look like a moving Rembrandt).

To which the director replied "Why do you insist theres a difference!"
That one line completely encapsulates the directors and his dp's work.
I wish more of our clients would say that :)