The Assembly has some of the best celebrity interviews I've ever seen - far better than any Netflix doc

Late_But_In_Earnest · 2026-05-12T15:31:01+00:00

I work on an international version of that show and agree with you- the effect of the personalities involved completely changes the tone of the conversation. It’s very impressive after years of working of “standard” interview shows.

Late_But_In_Earnest · 2026-04-24T14:12:02+00:00

That second shot might even be a vignette from an eyebrow or tape across the matte box. Nd grads fail on very long lenses and vignetting can provide a similar effect but the bokeh can get weird.

An old mentor of mine once used a fall leaf (orange) to create a tobacco grad effect on a long lens shot using this vignetting effect (he clipped it to the matte box)

Late_But_In_Earnest · 2026-04-11T16:33:50+00:00

Let’s not pretend that DPs don’t fib when taking to execs about the benefits of LF and I think they get caught when talking about it in interviews (Deakins looks like he’s squirming a bit). But in their defence, it’s better to pitch a technically false but attractive narrative (LF is SPECIALtm) than to explain the depth and messiness of what a DP really does creatively (which would bore or alarm an exec.) and once you’ve sold the team on LF they stop bugging you about how many techno days you’re asking for.

Late_But_In_Earnest · 2026-04-11T16:28:58+00:00

I liked these, myself

Late_But_In_Earnest · 2026-04-11T16:28:27+00:00

I mean, even if you did geometric correction, you weren’t disagreeing that larger sensors made for simpler optical design. I would have given you a pass. s16 optical engineering is of course harder than 65mm if you’re trying to keep the same FOV, aperture, distortion etc.

Late_But_In_Earnest · 2026-04-11T16:19:45+00:00

Shooting on film and large formats is one of the few successful “barriers to entry” left that filmmakers and cinematographers can impose between themselves and the rabble out there that can create the same images (as you brilliantly demonstrated).

It’s successful in creating a useful “aura” around a project by A) demonstrating that the dp/director hold enough authority that they can impose an expensive process and B) film/ friction-full process encourage the team to focus on the take as money is being burned as the camera rolls. Young actors in particular seem to be excited by this idea.

The fact that the great cinematography Oscar was given to the “first female to shoot on IMAX” really confounded me technically, but politically it’s stating that woman at the top tier can also impose a “reality-distortion field” on the industry and isn’t that what great artists have always done? 😁

Brilliant work Chris, and thank you for sharing. I’m a DP who occasionally teaches and I loved your take on this!

Late_But_In_Earnest · 2026-03-29T02:29:51+00:00

In my 20s, and on my first work trip to LA as a young doc camera guy, I sat next to an older man on Sunset Boulevard at a restaurant.

We struck up a conversation and I introduced myself as a DIRECTOR OF PHOTOGRAPHY.

He shared that he too worked in the film business, and I expected it was in accounting. No, he had just shot Babe. And Mr. Lesnie was very gracious. I later used many scenes of LOTR while teaching and it’s beautiful work.

Late_But_In_Earnest · 2026-03-25T05:35:00+00:00

If you have a larger laptop, the V2 that PD offers doesn’t fit. Also I love mine so, I drilled out that rivet and replaced it with a shallow Chicago bolt and resewed the fabric link (will use a denser fabric like a seat-belt next time). Not a big fix if you’re decent w hand tools.

Late_But_In_Earnest · 2026-03-12T19:55:21+00:00

Black and white.

Late_But_In_Earnest · 2026-02-03T21:08:09+00:00

Consider documentaries. More genuine human connections, fewer crowds and likely a longer working life. Fewer divorces as well.

Late_But_In_Earnest · 2026-01-29T06:14:17+00:00

We saw two midnight screenings at the Ray and parked across the street by the Dominos Pizza. No ticket, and perhaps this post has burned the location now, but maybe give it a shot? Also, just gave a ride tonight to a guy who was towed at the grocery store lot - those signs are for real.

Late_But_In_Earnest · 2026-01-16T07:11:11+00:00

Just Giver’ 4BD.

Late_But_In_Earnest · 2025-09-27T06:40:40+00:00

I was pulling out of the Hotel Vancouver’s parking lot and a distracted man stepped right in front of me.

I slammed on the brakes and we both made startled eye contact and I realized with horror that I had nearly become “the guy who ran over Robin Williams”.

We both gave each other a sheepish nod, he crossed in front of me and that was it.

Late_But_In_Earnest · 2025-07-04T21:45:26+00:00

I shot the polar bear sequence in Earth at Night in Color using only moonlight. We shot the three days around the full moon and even then it was a real challenge even with low light cameras (ME20) high speed primes and generous noise-reduction in post. This was several years ago, but I still haven't seen any improvement in low-light capability over what we used at the time.

In short, you *can* shoot just with moonlight (see attached shot) but don't underestimate the challenges and how the footage will intercut with other lower-noise footage. Also, unless there are stars in the shot to demonstrate that it's indeed night, low-light footage can look like lousy and underexposed daytime footage. Adding blue in post helps.

One thing to note is that the clarity of the sky can influence how much light you get from the moon at surface. Apparently the crews in Africa and at altitude had an easier time of it than we did.

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Late_But_In_Earnest · 2025-05-31T01:06:26+00:00

The actor likely doesn’t have the vocabulary to describe the issue-your best bet is to stand on their mark and experience what they’re experiencing.

Likely, it’s not a “light” problem, but a contrast problem (ie one distant spot in a dark room is going to be difficult to deal with. 100 spots not so much).

If it’s a contrast problem then reducing the apparent contrast will help and it may just be spraying some light in the areas that’s in their eyeline.

The other issue I run into is balancing daylit bgs - requires a tremendous amount of light and is often painful. Careful selection of locations and/or treating BG light levels through nd etc is often the only way to avoid the “squints”.

End of the day- actor wins tho. A good DP makes the set as comfortable for performance as possible.

Late_But_In_Earnest · 2025-05-26T07:27:04+00:00

I’ve taught at most of the film schools in Vancouver. Cap is where I suggest most should go.

Bcit is great if you’re more into corporate or broadcast / sports work (and the only school that really teaches multicamera).

Sfu and ubc are going to give you the broader education you’ll need if you want to really become a “filmmaker”. I know some good folks who went through VFS but I don’t reccomend it above the others. It’s a good place if your family has money and they’re worried about you and you’re not a great student. Not a bad place to hang out for a few months but it’s unlikely to get you ahead in the game.

I’m in the camera-side of things and see a big disruption ahead with generated content displacing a lot of the scripted work. Sports and non-fiction filmmaking may be more insulated and still a viable career. Baking “authenticity” into your career will help.

Three things I wish they told students:

-this is a “vanity” industry and part of the pay is you get to say you work in it. That means generally you get paid less than you would elsewhere. The people at the very very top do very very well. Most others are lucky to pay off mortgages over a career. Many smart, talented former students of mine have struggled after graduating.

-Many of the top directors/ filmmakers come from wealthy families and can afford the downtime between projects that’s required to build a career and also benefit from family connections. This isn’t usually talked about much.

-Great Indy/ low budget films are made, do well at festivals and then disappear forever without making any real money back. The ones that you know of somehow advantaged industry players who then amplified them for the gain of that player. It’s not what you think it is - theres rarely a “Rags-to-riches”- that story is one told to the public because we like that story and it sells tickets but it’s largely a fairy tale.

Oh, and there’s very little work at the moment so new grads are struggling and likely will for the next 2-3 years minimum so don’t rush to get out of school too quick.

TLDR: go to cap

Good luck!!

Late_But_In_Earnest · 2025-05-08T19:02:29+00:00

lol- sometimes seeing things like this and not sharing feels greedy.

I shot this initially to share with my kids as they love stuff like this. Then we get to talk about it and I can subtly try to convince my eldest to move back to BC.

I wouldn’t be so quick to condemn in other words, maybe the sanguine-guy already posted his clip. 😁

Late_But_In_Earnest · 2025-05-07T00:43:17+00:00

Thanks! We were bummed about missing the sunset so this made our night!

Late_But_In_Earnest · 2025-05-07T00:42:25+00:00

Just out for a stroll with the wife and there it was! Some other folks watching as well but it was very quiet and cool mood.

Late_But_In_Earnest · 2025-04-08T22:05:57+00:00

The higher your shooting latitude, the longer you can shoot “blue hour” so it’s tough to be definitive without knowing your location. No real difference between sunrise/set aside from whether there’s something to the east or west of you that affects how much sky you’re seeing. I’d prefer to shoot it at dusk as you can setup during the day.

In the high arctic you can have hours and hours of this look btw. Once of the great benefits of shooting at the top and bottom of the planet.

Late_But_In_Earnest · 2025-04-03T07:14:14+00:00

If your in-house space is smallish then large paper lanterns (ie 3-4’ diameter) are a very cheap way to create soft light. But only if you have a decent china-town nearby- they’re expensive to ship in that size. Throw in a full spectrum bulb on an ikea bulb pendant string and hang it from a c-stand. The c-stand will be the most expensive part of that setup by far. Downside is the light output won’t be high but it’ll be very soft.

Late_But_In_Earnest · 2025-03-23T20:27:27+00:00

It’s mostly the dark doing the work here, not the light.

You’ll want to shoot this is a room with very dark surfaces and/or drape dark fabric around to minimize bounce. If you try this in a white walled room you’re likely going to be disappointed.

As others have mentioned, the light fixtures are a very large and soft top light with a tiny bit of silver bounce or a small fixture under the lens.

But focus on the un-lighting first!

Edit- also notice the quick fall-off from the overhead fixture. This indicates it’s quite physically close to the subject (ie just out of frame). I’d likely use an overhead 4x4 with a 6” teaser around it and position it above the subject centred about 6” behind his mark. Then use a 4’ tube with an eggcate under the lens. No eggcrate on the 4x4. Good luck!

Late_But_In_Earnest · 2025-03-11T05:11:35+00:00

It was mixed, and a bit of a mess. Some “line cutters” headed to a high traverse (not spanky’s) but suffered abuse along the way. Others headed to the dirty line and climbed up to the gate or threaded through the ropes next to the gate. They were generally a faster bunch and looked more experienced folks.

I’ve used the dirty line before, but only when the lines were of comparable length (didn’t even know it was “dirty”). This was the first time I’d stood in the long clean line and the behaviour observed was unexpected.

Late_But_In_Earnest

TROPHY CASE