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Nội dung được cung cấp bởi The Cinematography Podcast. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được The Cinematography Podcast hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
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Cinematographer Maz Makhani on the Netflix film The Guilty, directed by Antoine Fuqua

 
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Manage episode 304000928 series 2808889
Nội dung được cung cấp bởi The Cinematography Podcast. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được The Cinematography Podcast hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
The new Netflix movie, The Guilty follows Jake Gyllenhaal as Joe Baylor, an LAPD police detective who has been demoted to working at a call center as a 911 dispatcher. The film was shot during the height of the Covid-19 pandemic in November of 2020 in just 11 days with a very small cast and crew on a controlled soundstage. Additional actors remotely voiced their roles as 911 callers seeking help. Cinematographer Maz Makhani and director Antoine Fuqua had about one day of prep together before they started shooting. Maz and Fuqua walked through the set with Gyllenhaal for rehearsal while working out the blocking and coverage. Once the shoot day arrived, Fuqua could not physically be present as he had to quarantine after a COVID scare. He ended up directing the film remotely from a van parked outside. They wanted the film to have a “God's Eye” perspective, so Maz used a very wide lens that showed the entire room. Antoine and Maz both favor a high-contrast lighting style that helped the dark subject matter, making the film feel real and raw. They mainly used the ambient light from the screens on the set and three digital cameras so that it had a more live and urgent feel. Since Antoine could not be on set, it was fortunate they chose digital so that he could see what was happening via a remote feed in real time and could communicate via text, cell phone and radio. Find Maz Makhani: Instagram @mazmakhani_dp You can see The Guilty on Netflix Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep142/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/ Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8 The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
  continue reading

300 tập

Artwork
iconChia sẻ
 
Manage episode 304000928 series 2808889
Nội dung được cung cấp bởi The Cinematography Podcast. Tất cả nội dung podcast bao gồm các tập, đồ họa và mô tả podcast đều được The Cinematography Podcast hoặc đối tác nền tảng podcast của họ tải lên và cung cấp trực tiếp. Nếu bạn cho rằng ai đó đang sử dụng tác phẩm có bản quyền của bạn mà không có sự cho phép của bạn, bạn có thể làm theo quy trình được nêu ở đây https://vi.player.fm/legal.
The new Netflix movie, The Guilty follows Jake Gyllenhaal as Joe Baylor, an LAPD police detective who has been demoted to working at a call center as a 911 dispatcher. The film was shot during the height of the Covid-19 pandemic in November of 2020 in just 11 days with a very small cast and crew on a controlled soundstage. Additional actors remotely voiced their roles as 911 callers seeking help. Cinematographer Maz Makhani and director Antoine Fuqua had about one day of prep together before they started shooting. Maz and Fuqua walked through the set with Gyllenhaal for rehearsal while working out the blocking and coverage. Once the shoot day arrived, Fuqua could not physically be present as he had to quarantine after a COVID scare. He ended up directing the film remotely from a van parked outside. They wanted the film to have a “God's Eye” perspective, so Maz used a very wide lens that showed the entire room. Antoine and Maz both favor a high-contrast lighting style that helped the dark subject matter, making the film feel real and raw. They mainly used the ambient light from the screens on the set and three digital cameras so that it had a more live and urgent feel. Since Antoine could not be on set, it was fortunate they chose digital so that he could see what was happening via a remote feed in real time and could communicate via text, cell phone and radio. Find Maz Makhani: Instagram @mazmakhani_dp You can see The Guilty on Netflix Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep142/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/ Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8 The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz
  continue reading

300 tập

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