Best Film to learn about Cinematography?

Anything lensed by Dean Semler can function as a master class on cinematography (if you don't let yourself get swept away by the stories).
 
I think any film by a cinematographer that you like is the best way to learn about cinematography.

Watch Vittorio Storaro's work in Apocalypse Now, and also watch his work on the Dune TV series (from Sci-Fi)...
Watch Dante Spinotti in LA Confidential, and also watch his work on Public Enemies...

I've juxtaposed their work very intentionally because on one hand I love their work on a film, but also dislike their work on another.
 
2 low budget character driven indies of recent note with cinematography I was impressed with are Martha Marcy May Marlene and Tiny Furniture.
 
Interesting to note, on a forum for Digital Cameras and in these days of the supposed, "Death Throws of Film", etc., that virtually all the Films mentioned in this thread are Shot on Film and not just 35mm, even some on S16mm. The Film mentioned at the start of the thread, "Hugo" is in 3D shot on Alexa - didn't notice any others in the thread not on Film.

Any Digital suggestions?


Neil.
 
Neil Johnson said:
Interesting to note, on a forum for Digital Cameras and in these days of the supposed, "Death Throws of Film", etc., that virtually all the Films mentioned in this thread are Shot on Film and not just 35mm, even some on S16mm. The Film mentioned at the start of the thread, "Hugo" is in 3D shot on Alexa - didn't notice any others in the thread not on Film.

Any Digital suggestions?


Neil.
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I mentioned the French movie 'Vidocq' way back at the start... it does have a wonderful look (IMO) & it was shot on CineAlta/HDCam (Sony HDW-F900) in 2001 (one of the first) and was also edited on the Quantel iQ (again, one of the first HD capable DI systems back then) - I used to use one... ohh, how times have changed with 4K and HD on our phones and laptops :) LOL

Personally, I like Collateral, it has a good look.

... and, whilst we're talking pure digital, look at Crank and Crank:High voltage (the latter shot on consumer HD cams). Whilst they won't win as 'high art' cinematography, they have a unique look/style and visceral quality - and I'm sure 'joe public' is unaware of of the format they're shot on.

Also, Apocalypto... another HD movie.
 
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Wow, there are a lot of great suggestions above. Though I can't believe no one brought up "Snow Falling On Cedars" with cinematography by Robert Richardson, ASC. It really blew me away when I saw it. Richardson is one of my heroes for sure. His use of soft light is amazing. I really suggest checking it out.

Like noted above, I am an "All in favor vote" for anything by Roger Deakins, ASC, BSC; especially "The Assassination of Jesse James by the Coward Robert Ford", "The Man Who Wasn't There" (The best B&W cinematography in 45 years; since "In Cold Blood" shoot by Conrad Hall, ASC., IMHO), and "1984". "1984" is the first major film to make extensive use of the bleach by pass process. It is amazing film and well worth a watch. It is out of print in Region 1, but is still available from Amazon as a streaming buy.

I also would like to suggest anything shot by Gordon Willis, ASC. I am absolutely in love with his cinematography. Besides "The Godfather" and "The Godfather Part II", which are both masterpieces of cinematography, IMHO, I recommend checking out Willis' work on "Klute", "The Purple Rose of Cairo", "All the President's Men" (One of the first major films to shoot extensively under fluorescent practicals) and a western from 1972, "Bad Company". I think it is very hard not to believe that Roger Deakins was not influenced by "Bad Company" when shooting "The Assassination of Jesse James by the Coward Robert Ford". The films have a very similar look, with muted colors and very natural lighting. Any fan of the cinematography of "The Assassination of Jesse James by the Coward Robert Ford" should check out "Bad Company". It is also a very good movie. Young Jeff Bridges is wonderful in it. In my mind, I really see great similarities between Gordon Willis and Roger Deakins. Their cinematography is so beautiful in its APPROPRIATENESS TO THE STORY, without resorting to anything fancy, or anything that calls attention to itself. I hope that Mr. Deakins, unlike Mr. Willis, is recognized by the Academy Awards during his career. However, I think that their steadfast dedication to serving the story with their cinematography may not be appreciated by the Academy final voters from year to year. At least the Academy made amends to Gordon Willis and awarded him an inaugural Governors Award for his body of work. I hope that Roger Deakins doesn't have to wait that long for his due recognition.

Sorry, just had to get that out there.

As for digital films I would recommend checking out for their cinematography, I would point to Roger Deakins's work on "In Time", "Drive" shot by Newton Thomas Sigel ASC and "Rampart" shot by Bobby Bukowski. All three of these films were shot on the Arri Alexa and I have seen all of them at the theater. I really liked they way they looked.
 
"The Man Who Wasn't There" (The best B&W cinematography in 45 years; since "In Cold Blood" shoot by Conrad Hall, ASC., IMHO)


Interestingly enough, "The Man Who Wasn't There" was actually Shot in Colour/on Colour Film Stock and converted to Black & White in Post. Obviously this decision was made up front and the Lighting done as though Shooting Black & White - i.e., to give separation.

Neil.
 
Neil Johnson said:
"The Man Who Wasn't There" (The best B&W cinematography in 45 years; since "In Cold Blood" shoot by Conrad Hall, ASC., IMHO)


Interestingly enough, "The Man Who Wasn't There" was actually Shot in Colour/on Colour Film Stock and converted to Black & White in Post. Obviously this decision was made up front and the Lighting done as though Shooting Black & White - i.e., to give separation.

Neil.
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It was amazing.

Also shot in color and BnW'd in post production. Very difficult to shoot for both at once and I was a little disappointed it wasn't on true BnW stock. However I understand since Kodak has not released a new black and white film stock since 1960 (5222), only adding improvements to those 'recipes' as time has progressed. But it's relatively the same film stock as it was back then.

The last great film, in my opinion, shot on true black and white film stock was Schindler's List, almost 20 years ago!
 
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I'd like to add Barry Levinson/Allan Daviua's "Avalon", the opening with the reflected fireworks is just great, but good as a whole, (and yes, film). And for off the wall, a film that included both film and video in bits way back when... FF Coppola/Vittorio Storarro's "One From the Heart", a wild piece that some hate and some like me love. Uses some interesting theatrical transitions as well.
 
I dont know but first movie that made me realize rembrandt lighting in movies is "The Orphanage", i looked at screengrabs and from now on my point of view at movies never was the same again, if some film has flat lighting i just turn it off and i just realized why i didnt liked some scenes in movies and i liked some, its all about creating mood with lighting and lighting i dont mean light bulbs but available sunlight as well.BEfore that i thouthg lighting.. its juts some bulbs here and there to make the scene brighter, i bet many people think that way about lighting when they have no clue what it is that sets the standard for cinematic look.
Ive seen many of films mentioned but none of them made me realize how lighting affects the look and mood of the film, looks like some people just mentioned their favourite movies.
Im wondering if someone had the same experience like me, i saw the orphanage and since then i look at movies very different, it was similar when i got educated about shallow depth of field in movies, watching experience was never the same again cause i started to look for DOF shots how i look for lighting now.
Anyone had that one movie that make a difference after seeing it ?
http://www.dvdbeaver.com/film2/DVDReviews38/the_orphanage_blu-ray.htm
 
bwwd said:
Anyone had that one movie that make a difference after seeing it ?
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Perhaps the most profound impact to how I saw the world, art, film, photography, was seeing Marcel Duchamp's "Étant donnés" at the Philadelphia Museum of Art.

You have to see the actual installation. And, perhaps, understand it in context of his "Nude Descending a Staircase", "Large Glass", and his "Green Box", which are all in a sense earlier versions of the same piece.

For months and months I would stare at clouds in a late afternoon sky, and remember his clouds, and lighting, the waterfall, the skin, and the total artiface of his set, but the total beauty and rightness of his rendition of what the voyeur sees .... and what all art is about.

I'm sorry, I hope that isn't too abstract. All I can say is that, even today, you need to see the work installed at the museum.

Films? How about the closing scenes in "Aguirre, The Wrath of God". Or "Far Away, So Close."

Best,
Michael
 
As previously stated by someone, many movies from Wong Kar Wai, especially the ones photographed by Christopher Doyle and...

I find odd that no one remembered the awesome looking films of Gus Van Sant like Gerry, Elephant and Paranoid Park (just my 2 cents anyway).
 
The Kings Speech - Cinematographer: Danny Cohen

Honestly, the Cinematography is beautiful.
 
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