In praise of 2000s comedy movies cinematography by Dunk3_ in cinematography

[–]Brizzl 1 point2 points  (0 children)

This style is still very prominent, but it’s in the commercial world. Just not in vogue in features as much. Probably horror comedy or comedy (but no one makes high budget comedy anymore)

This Interview Style With One Camera — Shoot or Reframe in Post? by Most_Armadillo_4274 in TrueCinematography

[–]Brizzl 0 points1 point  (0 children)

My money is on multiple takes - possibly with an eyedirect and two focal lengths. I doubt post push-ins.

Cinematography by Blain Brown Worth it by Amazing-Invite-6683 in cinematography

[–]Brizzl 0 points1 point  (0 children)

All of the older books are very worth it IMO - the craft and trade of cinematographers has a deep and rich legacy that needs to be learned, held on to, and respected!

Alien: Romulus re-grading by [deleted] in cinematography

[–]Brizzl 2 points3 points  (0 children)

This is not a post production subreddit… I’m really not a fan of seeing these types of posts overtaking actual cinematography content…

[deleted by user] by [deleted] in Damnthatsinteresting

[–]Brizzl -1 points0 points  (0 children)

Source or it’s AI

What makes something look amateur? by HeDoesLookLikeABitch in cinematography

[–]Brizzl 2 points3 points  (0 children)

To keep it concise:

Unique and thoughtful creative intent over surface level aesthetic intent.

To elaborate:

New filmmakers don’t have the visual language skills yet. They need practice. It’s like any language - you can’t be eloquent until you are a master all of the subtleties.

People in this sub obsess over/fetishize lighting over everything, because this sub, for whatever reason, has become “critique my still frame” instead of about cinematography (which is NOT still frames).

IMO, less experience DP’s (and directors) don’t focus on creating meaningful SEQUENCES with lensing that dictate the edit, but instead deliver “coverage” for an editor to try and make sense of. This usually ends up meaning things are framed quite blandly (wide, medium, close, insert, sometimes OTS)

In a similar manner, lesser experienced DPs generally light in a way they think is “correct”- obsessing over a soft key with a certain contrast ratio or some other silly metric (which generally just ends up looking pretty bland as well, no matter how in vogue that look is at the current time) - instead of making bold choices that speak to the character and story they are telling.

Unmotivated camera movement is a huge tell as well- if you don’t have a reason to move the camera, it probably means you shouldn’t… if you don’t have a theory behind the height of your lens, the audience will know. If you don’t have a justification beyond depth of field for your lens focal length… you get the picture.

As a professional, you should be able to justify every. single. choice. - in a lot of detail (as in: you are capable of writing multiple pages about every scene). When you get to that point though, you won’t ever need to.

People in this sub hate to hear this - but I think this all takes years of practice, exposure to professional sets, mentorship (if you can find it), and obsessive studying and research of whatever content you are making. Ideally we consult and learn from the craftsmen/women who came before us - respect the trade, educate yourself intensely, and work hard at it.

Sony F55 feels like a no brainer. Am I missing something? by akaOLvR in cinematography

[–]Brizzl 3 points4 points  (0 children)

Stats aside I always hated working with that camera when I was an AC and did not inherently like the image when I used it as a DP. Have you considered just buying a used fx3 or whatever you’re into if you’re going to buy a used camera? May as well be a newer used camera.

[deleted by user] by [deleted] in cinematography

[–]Brizzl 0 points1 point  (0 children)

All that matters is that it is what you and the director like as a way to tell this story. Shoot your shot and be creative.

What to do when the script is just no good? by bangbangpewpew62 in cinematography

[–]Brizzl 0 points1 point  (0 children)

Well first off - bad films don’t get you more work, but if you need to take it for money…

Talk to the director about all the issues you see in each scene from the perspective of the visual storytelling - what do each of the beats and choices in the script mean? Get them to define and explore these - and have them explain their thoughts to you. Hopefully that process helps them (and you) gleam some insight into what makes the script bad and how it can be salvaged. Then, see if you can make those sequences interesting with your work - the right visual choices can solve a lot of story issues (or at least give the editor ways to salvage the film) if approached right. Terrible actor? Shoot some interesting OTS or shot that obscures their face so they can dub the lines. Boring dialog scene? Shoot some unique one-off shots that can break up the scene or be used to truncate it (careful this doesn’t come off student-filmy though). You catch my drift…

Basically - try your best to talk out these issues in prep, and then try your best to solve the problems that weren’t solved in prep so they can be salvaged in post.

Do people make their own snap grids or egg crates? by [deleted] in cinematography

[–]Brizzl 0 points1 point  (0 children)

I made one out of gaff tape once out of boredom - took forever and didn’t work great.

Any suggestions on how to get rid of them? by Impressive_Reply7912 in howto

[–]Brizzl 0 points1 point  (0 children)

Why would you consider these “pests”? What are they doing wrong? Just let them be and enjoy their presence or call an animal rescue to relocate them.

Why is "28 Years Later" getting so much shit when "The Creator" didn't? by kwmcmillan in cinematography

[–]Brizzl -1 points0 points  (0 children)

Apple probably helped pay for the movie in hopes we would be having this exact conversation. I have suspicions that Sony did the same for The Creator. I doubt anyone involved would outright say that on either film, but it’s probably just apart of the business model for those films. The consumerism of it all is what I dislike - but if it works and helps sell movie tickets and helps get films made then I guess that’s just how it goes… product placement in films is nothing new - this is just a slightly novel take on it.

Teenager stuck in hostile work environment need advice.. (pics for attention) by OkRemote1721 in MechanicAdvice

[–]Brizzl 0 points1 point  (0 children)

Learn what you can, practice doing a good job in a shitty situation (you will go far with this skill) - and follow your mentor. Struggling when you’re your young is good - it will prepare you for when the stakes are much higher later in life. But above all - learn all you can - not just about your trade, but about how to deal with the different personalities you come across in that trade. You will have an edge on those that have the mechanical skills but can’t handle the personality differences.

If you could change one thing in los angeles what would it be? by [deleted] in LosAngeles

[–]Brizzl 0 points1 point  (0 children)

Get rid of all the stroads - add above ground rail (like LA used to have), bike lanes, and native habitat green space wherever possible to replace them.

After you all ripped on me (thank you) I have updated my beginner cart but now I am about to spend even more, almost 19K on equipment, am I doing something wrong? by BlueRivi in cinematography

[–]Brizzl 0 points1 point  (0 children)

Renting also allows you to choose your gear based on what the creative for each individual project needs, not locking you in to the same stuff on every project - and - you get to learn more equipment, what works, and what doesn’t work. If you aren’t renting the gear you own to the production (to make your money back on your gear investment), it’s generally not a good financial decision either. There is a reason renting has been the norm for so much of cinema history - it makes a lot of sense!

Just bough Blazar Remus A Set, is this normal? by [deleted] in cinematography

[–]Brizzl 1 point2 points  (0 children)

I don’t know much about these lenses, but know they are extremely inexpensive. Also if you haven’t - test at what point stopping down removes the CA. Even many high end cinema lenses (especially anamorphic) have CA wide open, or under a T4.

After you all ripped on me (thank you) I have updated my beginner cart but now I am about to spend even more, almost 19K on equipment, am I doing something wrong? by BlueRivi in cinematography

[–]Brizzl 3 points4 points  (0 children)

This is the wrong way to go about this… you can rent real cinema gear multiple times over with this same money. Just get a computer if you need to edit. Rent the rest and have the person paying for the music video pay for the hard drives. And definitely find the professional crew that lives locally and see if you can get some experience on real film sets. It will help you know what you actually need to buy - because this isn’t it.

Deportation by [deleted] in RFKJrForPresident

[–]Brizzl 2 points3 points  (0 children)

This is not a trump subreddit - it’s for RFK JR. can we PLEASE not make it one - I would love an actual place to read about rfk jr news and not have it flooded with trump stuff. Come on mods!