![]() ![]() I wanted the characters to look authentically beautiful and let the lighting show imperfections at times so we could ground ourselves in a real-world setting. #Purple moods skin#You could see all the emotional nuances of a face, but the skin was never overly sharp. The cookes have a three-dimensional quality once they enter the close focus range on the glass. This meant the operators would invade the characters’ personal space in the scene to experience their emotions and transmit those details to the audience. I wanted the photography to be personal and subjective. Matt: For the film Purple Hearts, we used VENICE 1 for principle photography and VENICE 2 for additional photography with Cooke S7 and Blackwing tribe 7 primes. YMCinema: Please elaborate on the cameras and lenses used to shoot the project, and why did you choose to use them. I think it’s extremely valuable for cinematographers to pitch their ideas successfully as we’re kind of like salespeople and our ideas and photography are the product. I’m incredibly grateful to be one of her trusted collaborators for the past six years. She took a chance on hiring me since I’d only shot a few shorts at the time. ![]() After spending a few years doing commercials and videos, Elizabeth Allen Rosenbaum, the director of Purple Hearts, gave me my first break in the narrative. Mark would have me shoot 2nd unit on all his projects, and he taught me so much about tapping into the depths of the psychological and creative process. ![]() Matt: I started my career as an assistant for director Mark Pellington. YMCinema: Please let’s know about you and your filmmaking career. ![]()
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