100 thoughts on “Roger Deakins: Making Beautiful Images”

  1. Just wanna be the dick who points out that a shadow (No Country), a silhouette (BR), and simply withholding the reveal of a character's face (Schindler's List) are not the same thing.

  2. Very good video:) What's the name of the first song? Sounds like the soundtrack of Blade Runner 2049. Anyway, there is another great photography director: Rodrigo Prieto.

  3. When a character is introduced in a Deakin's DP'd movie, it's his choice. When it happens in a Spielberg movie, it sin't the DP's choice, but Spielberg's. I think this is a problem for people who attribute decisions to the DP or director – who made the real choice?

  4. Knowing there’s potential spoilers, but not knowing which movies means I’m skipping this video just to be safe. I’m sorry.

  5. I love Deakins' work but I think he's been relying too much on color grading lately. He uses LUTs that are so obvious they make the hard work he did on set almost irrelevant. Perhaps it's just the director's decision or even the studio's but somebody is clearly messing up his work in the editing room. I'm not against color grading when it's used as a tool to enhance the colors and make the scenes consistent with each other but it's gotten out of control lately. I know for certain that in a couple years, we'll be looking at 2010s films and think "Jeez, what were they thinking!!"

  6. I watched about 5 minutes of the video, did it ever address that Roger Deakins has said if some one considers his images beautiful when watching the film, he feels like he has failed. Interesting title of the video.

  7. Roger Deakins is the fuckin' man! I loved what he did in Skyfall, Sicario and Blade Runner. I'm watching Blade Runner again just to study Roger's lighting setups. Brilliant guy! Super artist!

  8. the cinematographer doesn't decide the images, the director tells him/her what he wants in the image and the cinematographer creates the picute out of technical accuracy concerning the craft of film making

  9. While his cinematography was beautiful in the new blade runner it couldn't keep me from hating the movie, horrible cast, dragged way too long, and the sets lacked the delicious noir of the original film.

  10. There was an amazing shot in Fargo that Deakin made, a high angle shot of a snow covered parking lot contrasting with lamp posts, planters and a parked vehicle.

  11. Very well produced and informative work. Though I would have to disagree a bit with the idea that a cinematographer "decides the look of the film" That's only if the director wants them to. As a feature film director of 14 years I can tell you that I determine everything from the cameras and lenses on a project (anamorphic, scope, etc) to the camera set up (tripod, dolly, Ronin, etc) to the amount of light and staging of the subjects. And though some directors are probably less involved than myself in the photography and rely more on a DP to figure it out, even Deakins himself has said he is there to serve the director's vision. I know there are many more talented directors like PTA, Kubrick, Tarantino, etc who certainly decide their film's looks as well but do understand that a cinematographer is always a big part of that process and at times can be more or less involved depending on their director. But… love your videos all the same and are they are all very nicely done!

  12. Great video but! No, the fill is not "dark" and the key is not "bright". The purpose of the fill light in to fill in the shadows, preventing them from getting too dark. Roger Deakings purposely avoid using fill lighting in the shadows to make them darker and you describe those dark areas as "fill" lighting… which is confusing although I understand you meant the way he is shaping shadows. The key light is not the brighter light, simply the main light. At 5:56 you have an edge light coming to the right of the character and the key light placed toward his profile and if you look at the catch light in his eyes, there seem to be no other light at all. Also you wrote "light" on the left where there is no light and "dark" on the right where there IS the edge light… coming from the window 😉

  13. Way off topic …

    … but isn't the set at 0:31 almost the same one used in the 'Railway Station' scene in 'The Untouchables' …? I could be wrong, but …

  14. As soon as I saw the first shot of the solar power station at the beginning of 2049, I knew it was gonna look absolutely incredible.

  15. Roger is obviously one of the best DPs around and has been for some years. Some sense and some nonsense in this piece however

  16. Nice! I really liked this. Deakins's work is fantastic and this video really does show this.

    Keep up the great work dude!

  17. 5:04 you mention the in-between characters shot with wider lenses (~28-32mm); the Coen brothers also love using this technique in their directing. I wonder if it's A) Deakins' work on their films, B) Coen brothers telling Deakins to try that method or C) a collaborative effort.

    Every Frame a Painting talks about the Coen Brother's shot reverse shot specifically, it's a great video as well. Nice work!

  18. I'm absolutely pleased he won an Academy Award for Blade Runner: 2049. He proved to the cast and crew he used both technique and silhouette in the motion picture in precise shooting, that the color blended with the futurist philosophy in all conceptions. He definitely deserved that Oscar.

  19. The amount of time I've heard these greats candidly say "I feel I'm learning with each new film" when it comes to their profession and having a string of successful features behind them. People like Spielberg, Hans Zimmer, Roger for that matter, they always say the same thing. I think true greatness comes the from fear of failure. It seems to be a never ending journey of discovery. I admire their honesty and can recognise this feeling in everyday life. It's all about applying yourself and doing the things you feel you can't do. That's where true greatness comes from I think.

  20. hey hey hey! The cinematographer merely knows the tech on crafting a shot and does not determine the look of the film.

  21. It would be even more helpful if you would dig into a few of the examples in far greater detail. Keep up the already fantastic work!

  22. Since this video spotlighted Blade Runner so much I feel that the cinematographer for the 1982 Blade Runner should be named if not praised – Mr. Jordan Cronenweth.

  23. I think cinematography isn't something you learn but you are born with that gift. I can look at something and know imediately if it looks right or not and I can shoot good footage even with a potato in the right angle and the right light. 🙂 somebody is born with that and somebody is a cinematographer just to be one

  24. While I love Roger, and think he's the best to have ever existed. Denis should take some credit for BR 2049. He's a very visual director and demands the quality.

  25. Dude when you were talking about how he based a lot of the look of Blade Runner 2049 off the first Blade Runner, mentioning director Ridley Scott, I kept waiting for you to say mention that film was shot by Jordan Cronenweth. I think he deserves a mention in that line of thought!

  26. its so unfortunate that lubezki didn't win for tree of life, roger won for br 2049 is too funny, tho he deserved one for his amazing talent

  27. The best thing about Deakin is how subtle and diverse his cinematography is. His style never overpowers the director's vision

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