and hello my name is Matt workman and welcome to cinematography database show today we're going to be talking about the cinematography of hateful eight directed by Quentin Tarantino shot by Bob Richardson uh Quinton and Bob have collaborated on many of their amazing amazing films together or Quentin's amazing films and you know including like Kill Bill Django and hateful so they have a really long relationship and I think you kind of see that maturity in the filming that they do they are able to make kind of wild and bold decisions that they're not things that like I would probably suggest to the director that I've only been working with for like a year we just met the first amount of commercial these guys they probably like what what if I did something absolutely crazy he's like what if you did it crazier I feel like that's what their conversations probably sound like and you end up with movies like hateful eight so let's hop right into this today um here is um Bob he operates the camera himself Robert Richardson Bob Richardson um and this is one of his signature things that makes him pretty unique as a DP is that he likes to ride and operate on an old-school riding crane and this crane is made by grip factory Munich I believe and this is the gf8 which is the smaller one and he uses the GF 16 which we're going to be talking about in depth quite a bit coming up you can see that as opposed to having a remote head he is physically at the end of the crane so it's a little bit intense for the grip team to have the head of the department flying you know 20 feet in the air but you do get a certain sense of inertia and movement while you're at the end of the crane and I'm sure that informs the operating and it's the way he likes to work and um uh not going take it away from does a great job going so far so here's our slight picture I thought this was pretty funny they use a gigantic slide outside and they went fully old-school so it's like literally chalk I'm sure the assistant editor who had to like read these was really appreciative of these chalk drawings and here's Tarantino and cam Richardson maybe this is like the act Oh late from like ben-hur or something like that I'm not sure exactly so the first thing we're going to talk about is to look at some of the exteriors so let's look at the horizon here if you like horizons around here kind of low in the beginning of the movie now there's going to be spoilers in this because we're going to break down things that you wouldn't have seen otherwise we start with this um pretty much start with a close-up of what would be I would assume Jesus here on the cross and it basically takes about two or three minutes for them to pull back out to this wide shot and we see this stagecoach kind of tearing through the perspective and he's kind of coming through this the scene here what I want to call out here is that the exteriors that they went for have this kind of blue color so this is definitely the hateful eight exterior blue color correct likely when they were shooting this though it was the sky was like that um and probably this was probably like that so that's the color correctors to shift it into there um kind of a cool look for the whole thing it takes what would be pure white like look at this horse what would have been pure white and just gives the whole thing a tone and that's a strong technique for cinematographers to understand that when you have a scene that's all white you're like oh I'm the worst I'm blowing everything out the in color correction you can actually control that tone and give it not only bring the value down but give it an actual color sometimes that's yellow sometimes it's orange sometimes it's this interesting blue it's a cool look I haven't I haven't seen something like this for a while I think it's pretty awesome here is a shot where I'm going to go to White's where we're getting introduced to some of the characters and we see this little dark silhouette and I've said it in other episodes but we're going to talk about it more and more and I'm actually starting to put together either a course or a book or something to kind of bricks just in a more detail but he is a little silhouette and even from that way way back distance on a little screen we are very attuned to finding silhouettes and understanding what they are assuming that they're human you can tell how old they are you can kind of guess you could tell if it's male or female there's a lot that humans can tell from the silhouettes of other humans they're playing against this the her eyes and I feel like is around here and he is completely surrounded by white snow so his silhouette sticks out very much we have a lot of interesting perspective here this tree here of course down that as well and we do have a bit of atmospheric perspective where this tree is more contrasty than this and this is even less country contrast II in the back moving on this is a cool scene where the camera is essentially booming down to reveal Samuel Jackson I forget his name major something right got his name so what happens when the camera booms down is they basically Samuel Jackson kind of he kind of comes up from the bottom of the frame so that's what's happening here as the storytelling device is that we started the shot that's essentially of just the stagecoach and as the camera pans down we're going to reveal Samuel Jackson at the bottom same kind of blue color crack going on though I think it's calmed down a tiny bit because we have more skin tones now so this the highlights are like this and we're looking at the shadows are here so there's still a pretty heavy tinting of the background of the background white because this would otherwise just be white but then if we look at his eyes that's a dark color for eyes I'm sure but it's even the eye is the white part of the eyes and here in the Hat everything it's into blue so there really is no um empirical white in this scene but it is um it does still feel white but it does give the whole thing some tone which um just makes the thing feel more cinematic more painterly because pure white is a can be kind of a strong and obviously a bright color and it can just be a little bit off-putting I used in the wrong way it's a little bit intense to look at the whole time so giving it a tone here kind of helps bring the focus back to Samuel Jackson and what's going on then to having like pure white psyche which is easily happens if you're shooting digital in a snow snow environment is to have everything just be pure white behind you so a lot of it that's going to be helped in color correct here's a cool overhead shot now this is realizing watching Quentin Tarantino's movie it's been a while since I've watched some how much of it influence I think he's had over my generation of filmmakers because I feel like it's our instinct at almost all points in time is like should we go for the overhead shot I feel like all directors in TVs have this question it's like okay we're gonna I feel like we should probably get the jib just so we can do the overhead I don't know if it's gonna make the Edit but I feel like we need to get an overhead shot I've been like I feel like Quentin Tarantino is kind of behind that all the Kill Bill scenes from above and that sort of thing and now watching this movie this framing sensibility and even this focal length from this height I'm starting to realize that I have kind of adopted that from Quentin Tarantino this is a cool shot and that what I wanted to show about it is that if you are low-budget and you have no lights and you have none of that is like you don't need lights you don't need money you need to know how to do this kind of lighting in this cap of framing so what is it we have over here a very bright scene that is backlighting this interior and instead of trying to light up you're like oh we need to balance the exposure don't Ballack's the exposure Roger Deakins doesn't balance the exposure of the interiors and neither does Bob Richardson in this scene what is very strong when you're shooting an exterior from an interior for a scene like this where it's a wide shot or maybe not even a wide shot just close-up exposed for the background always exposed for the brightest thing and see what you could hold in the shadows and just make sure that you're putting against this scene here something dark like this silhouette I don't know how to call it the silic as it's so dark but make sure that this silhouette is holding you know I feel like you could use like a little edge light here not that he needs that but like you know like if you were trying to do something like this if you're doing seems like this point back towards the bright scene exposed down so that that's being controlled and then silhouette things in front of it and let the scene just be backlit towards camera that's always going to work if you kind of look at what's going on in this shot this webcam shot that's also what's kind of happening here I kind of design that let's move on to the crane so right now we're going to start looking at what Bob Richardson uses on pretty much all of his movies and there's a couple really cool shots in Kill Bill there's a couple and Django and there's several in this one and he does it all from this riding crane and again this is doing by grip factory Munich is probably go the web site and essentially at its some of its shorter lengths you could have two people on the end of this crane one would be the operator the other would be the focus bowler at a somewhat there's a bunch of lengths that there's 15 at some of the longer links you can only have one operator so just the camera operator and at the absolute longest lengths I believe you have to take that off the seat off and you can only use a remote head because it starts to get really long I am going to be building all of the GF 16 8 and 9 cranes in 3d with the little seats at the end so that people will be able to visualize what that looks like what angles are possible and how the camera moves look and we're going to be also looking here at some stuff that Bob is doing with it what's really cool about this scene besides this I'm going to keep calling this out is if you listen to the behind the scenes the snow is like super loud or something is really loud here and filmy on the elements just like the revenant it's pretty hardcore actually look at this guy he is oh man I'm just noticing this now it's like sad sad it's cold out um but what is cool and we're going to keep pointing this out this is like the funniest part that I've seen all day is that we have this combo stand up here with a 4.5 inch grip head and we have this awesome looking umbrella that goes over the camera so it's like a junior – this right – this arm with an umbrella over it and they fly that over over the camera at all times I think that is next-level gripping right there and so that's our first look at this crane moving on here's a cool shot of Quentin Tarantino 6 actually this looks pretty real where he's clearly blocking on over the shoulder maybe explaining the shot – Samuel Jackson and this scarf is badass when's the last time you saw a scarf on someone it was like that's badass in western movies which this is kind of a western frontier movie it's just set in the snow which is kind of interesting and we just see Bob Richardson all the way down here and as G of 16 Crane um sitting on him you see his got a microphone um so he's able to say like okay boom up slow down slow down you know adult you know let's boom up a little bit higher okay and hold it right there and on my call we're gonna back up in three two one and start dialing back talking back so he can do stuff like that almost live and talk very quietly probably without getting recorded by the sound artist and he could basically just float around in the world like wherever he wants like he's on a magic carpet except it's a magic grip Factory Munich carpet and this also to call out this is the first AC right here how do I know that I will tell you at the end you'll see so here's a shot like I said the beginning of the movie if you were interested this is it this is how this is them filming it statue we see like a m9d maybe something like that like somewhat big hm I just kind of hitting it hard filling in this frame here is to protect it from the snow and we see him rub Richardson starting really close and then this kink and it just slowly backs up but I can imagine he's actually like talking live to his people he's like okay slow it down and in five seconds we're going to go back and I'm panning left okay boom the arm back stuff like that it's cool um to do that and if you come from a live camera operating background you'll be used to the even if like 30 cameras there's someone usually watching all the cameras and they're like okay camera a we're going to you in three two one awesome can you zoom it out communicating camera moves in a live situation you better know what pan means what tilt means what zoom means what boom means like you guys have to have this common language to talk to 20 camera operators and be able to live get what you want throw in their technic range ifs and Steadicam so you have to really know what your language is for cinematography and these guys operate at that level of course and this is my favorite picture this is like what I use for the cover art it's just a really cool shot this is the gf8 which I didn't realize that gfa could hold a person because it's kind of a skinny beam compared to the GF 16 but I guess they use different ones I'd have to talk to like a legit European grip about when you use certain models of cranes maybe there's someone on the YouTube channel you guys tell me when do you use the 8 when to use the 16 I feel like you would just always use the 16 I don't know um but yeah so that's the look at the crane uh and next we're going to look at some day exterior stuff as far as the lighting and all I wanted to call out here is I'm going to pick enough like a bright color is that look at this who made this who made this umbrella to junior adapter genius um I honestly hope to never have to need that on shoots because I don't like shooting outside but this is a great look at the Ultra Panavision 70 camera that they shot with we'll talk a lot about the specific film camera they used and some of the like uh already I feel like it's a nostalgia of what they did to shoot this it's pretty cool um again like I said with Quentin Tarantino I feel like they're just trying to want each other one-up each other on something that's like creative and kind of like crazy he's like what if we did two crazy crunchy tears like no no no no man four crazy and then Bob Richardson goes to like Panavision he's like what about all just seventy crazy and that's what they do and they make a movie and we all have fun watching it on the roadshow so what I want to show here is this bounce what we have is this is called a I'm going to write it out real quick it's made by K 5600 and it's called the alpha Nam forgetting the name I believe it's called the Alpha 18a I forget so I guess it's an 18 K essentially and it's this very kind of like spotlight mole beam looking one it has a very very wide wide throw so it shoots a very open face kind of 18 K kind of light versus a friend L which is a little more focus the beams a little bit like this like this a beam like of a fin L is like that and a par the beam coming out of that light's like this it's like I just hits everything kind of like a sky pan it's made by K 5600 who make the jokerz and they're also just like these kind of small lightweight lights and they get to the ground pretty easily and he's using it to bounce into likely a 12 by 12 ultra bounce and that's creating a big fill light over the daylight and we're gonna look at a couple more photos of that I just want to point that out and this dolly which I am actively doing my research on to start modeling in 3d is the Chapman Leonard Chapman hustler or is that the peewee I can't tell but to the hosts of the PV but it's a Chapman I know that much here's another look at the same HMI pretty sure it's the alpha 18 18 K version and again bouncing into some big ultra bounce here and you can imagine that there's this even even flat light over the scene and then especially with the Hat here the hats going to block a lot of light so he's going to essentially be like completely dark oh they're filling in from here and here and here so light gets under there and it's also very even in flat so even if it shows up in the eye light because it's so big it's going to probably be matching essentially the quality of light that's around the scene it'll feel natural and I feel like the exterior lighting is very natural the interior lighting we're going to talk a lot about that here's a cool shot of Bob operating looks like a cold day they consistently have this like canvas cover over the camera because film cameras actually foam cameras are pretty robust I feel like compared to digital cameras but you know you there's probably not a ton of these 70 mil cameras you got to keep them pretty uh in good condition and this is just more shooting of the stagecoach and I just like how there's such a variety of dollies and the writing crane but sometimes you just like put the tripod in the snow pointed at the stagecoach and I don't know they that seems obvious to people but to me I have an appreciation of just like a camera in the snow looking into it into a stagecoach you feel like that's pretty cool I don't know why I just feel it just feels like kind of like simple there's something simple about a camera a tripod and I deal with a lot of um you know ways of moving the camera like dollies and cranes and moko and stuff like that but like sometimes you got to hold it down on the tripod so now we're going to talk about Bob Richardson lighting and this is something that I've slowly started to understand more and more I've actually had people tell me that some of the music videos I used to shoot look like this and I didn't really know what that meant back then because I was in the music video world that wasn't like really looking at movies in an analytical way but what I'm going to call this next section and then might as I'll just draw it here we're going to call it okay that's drawn with black that doesn't work I guess um we're going to call it look at this lettering hot I'm going to go hot backlight with a low mm low bounce hot backlight low bounce I was also going to call this hot back like an F it but I feel like I want to keep this cooler more like friendly for every money but we could also call this hot backlight and f it I feel like that's kind of also would be accurate so what I'm gonna do I'm just going to delete this real quick but that's the name of this section and this is kind of my analysis of the lighting of the movie this particular movie and Bob Richardson in general he's kind of known for this so what we see here is a would be like a park and park ends are kind of one of the things he uses quite a bit so picture a back light coming from here you can see it doing this rim light on the Hat clearly we see it here and it's probably two stops over and on film that's going to still be okay on a lexer that's going to be okay on Blackmagic for four point six K mini Ursa Orson mini from what I'm hearing you two stops you got it so you could back light with two over overexposed by two stops and then we essentially just say hey let's just let it go and we're going to see what happens no front fill but what ends up happening is because this stuff is coming and blowing up piano keys and all this other stuff as we get this low bounce so here's the hot backlight not that that's how light bounces but you know we have light bouncing around and eventually gets back to heaven on film and on certain cameras you can actually hold the under exposure and the over exposure at the same time which is probably why he's not so excited about shooting digital where you may not be able to do that technique as naturally you might have to fake the low bounce so again hot backlight low bounce look start you're going to start to see this in all of the Quentin Tarantino movies that bulb shot another scene doing the same thing hot backlight almost a hot top light and then clearly this is hitting a table that's down here and going like this boom boom boom the backlight at the up light here's another thing going on this one feels a little bit faked but in general it's like there's the hot top light all the stuff happening to but essentially I think this might be like a candle it feels like a candle or something like that but you can imagine that like all over the room here's a table there's these hot back lights hitting tables and those tables are up lighting people Roger Deakins actually does a similar thing when he's recreating daylight coming through a room and bouncing into the floor that seems to be the way the people are doing it these days so if you're shooting a narrative project and you feel like getting some hot backlight low bounce give it a shot Roger Deakins does it Bob Richardson does it why don't you do it here's another shot a clearly a big hot spot coming down here like this and just letting it bounce back up and go just go crazy do what to do like this again hot spot bouncing everywhere that's kind of how it's working and you have to be cautious of balancing the how hot this is and how much you're actually getting in there because it could just be like blown out backlight in no front film what you mean I don't know if that would be as engaging to look at so here's some of the proof actually so if you look at this scene that they're blocking a lot of things going on in a movie set like you feel like the props Department resetting something you're doing Samuel Jackson's makeup over here you're talking to the director and of course Bob Richardson over here with the long gray hair which I'm looking for at a hundred percent to having long gray Wizard cinematographer hair it'll get there will I still be making these YouTube videos then I don't know I hope so but we have clearly our main hardback light I would assume the camera angle is going to be from here based on how everyone's looking the way that things are being staged assume the angles this way and we clearly have this backlight hitting everybody and it's hitting the floor and it's updating you it's up letting you it's even up lighting him but he's getting a little bit of direct as well and what is Bob Richardson doing here we want to focus it on this steel blight meters I know people who are new to cinematography I always ask about light meters I haven't quite gotten down to my opinion on it but what we're going to calculating is this – that he's making sure that this exposure that's coming from the table which is basically his face is at exposure I would assume that he is going to say that this is like say he gets a reading that's like this t56 Bob thank you for using me I'm glad someone still uses a light meter that's what the light meter said to him and I bet he puts the camera at so you'd exposed it I would assume that he would put that the lens at around t56 and he might put it to like a four five six just to make it a little bit brighter here and then just make sure that we're a little bit at exposure and bring that bring the skin up a little bit higher but still make sure that these highlights are still only two or three stops over I mean they're shooting film so it's not as much of an issue but actually the digital cameras are all being rated towards highlights – but that's what's going on in the scene um I know there's a lot to look at but I think this should help solidify the fact that yes that is what's going on in a lot of these scenes it's a hot backlight but he wants to make sure that the bounce light that's coming up is going to be enough to get exposure and that's what we're looking at that's what he's doing and the same thing here uh presumably uh you see what he's looking at you know what the DP looks at when he's doing a reading like this he's looking at the camera that's what he's looking at so there's a camera way over here somewhere else with a lens looking at him here's our camera with our big Panavision mag on it I mean he's this is a terrible joint he's looking at that and making sure it because there's gonna be a person getting their close-up here probably him it's probably this guy who's getting his hat cleaned off ready for his close-up and he's back lighting him you see how hot this hair is I don't know if this is a production Stiller video but you see how over exposes and what he's doing is he's making sure that the fill light that's coming back and hitting this meter that's going to go back to the camera he's making sure that that's at the exposure level that he wants and look at this ball look at that it's brighter at the bottom than it is at the top that's what's going on in a lot of these interiors so that's a look at Bob Richardson's lighting style for this movie and for you know a lot of the stuff that he does and I think it's a technique that you should try try just given it a big hard backlight and just see what comes back naturally and exposed to that natural come back bounce let it just blow out don't worry about it blowing out and this is a commercial for a big client don't do that but now and just see just see what it looks like you can do it in your house with your iPhone honestly you can do it in anything but it's the concept of understanding hard backlight whatever comes back at you at the bounds exposed for that just let it go let it ride that's how we're doing it the last thing I want to do is to last thing but I'm going to do in this section is just kind of look at some of the lighting in the interior so we clearly have where are we so this is so see like this hot spot here and even this I kind of question what the help what that is but this is clearly a spotlight hitting that and then there's a little spotlight over there you can see it's coming like that and there's probably I don't this feels a little bit weird anyway that's it feels supposed to be a window but essentially we have these spotlights in initiai they're pretty neutral but then we have this blue cooler light coming through here now this is shot on a stage I believe I'm gonna make this actually blue we have blue window light um so yeah I don't know but like what's what's going to be engaging about this are these hot spots that are coming down and the fact that there's these um doors and windows that are very bright and have a little bit color conscious so the interior letting us warm the exterior lighting is blue it's cooler and these to me count as practicals when you have a window like this when I say like the five elements of cinematography that are engaging ah almost at an unconscious level subconscious level that you can't control liking when I say practicals I also mean windows because when you see a window that window becomes the light source in your head like my window back there it feels like a light source um so that's what's going on in this this shot here's some more of it so here's a little bit more the fire this fire is not even that orange honestly um pretty bright here's our fire colors a little bit green maybe this is just like a bad still that I pulled the color confirm I think this blue thing is a lens flight which we'll talk about the lens flares from these lights and then clearly over here like this full blue situation this probably went full-blown out in the the actual negative a pitcher that was blown out and then they just color corrected it tonally back into this zone so it probably came in looking like this the window is probably bright white like that and then they colored it back into this so they made an isolation window for it likely I would guess in color correction here what I might be wrong they used it they used a qualifier or there's some sort of like separation happening here with like okay this is going to get real blue and then we're going to make sure that this stuff these highlights don't fully clip same with these so you kind of look at this table that was probably blown out it's getting the same kind of color correct but then over in this world it's kind of like a different situation where we look at the blacks and the blacks pretty black let's see if I can I think the blacks are still warmer so over here we have um the blacks are blue where could I show this there I'm trying to struggling to pull the can dye swatch for you that's a dark blue if you can't tell but over here magically the darks are going to be or the blacks are going to be warm so how we doing that we're doing two separate color corrects to this frame this side of the frame is going to be blue with blue in the darks and the blacks and this adds warm clearly with the fire so there's a bit of color correction magic going on here to make this happen because you can't have two different I guess you kind of could if you had a warm light and a blue light but in general I think that this was probably either helped in a combination with lighting and color correction to make that happen and that's my analysis of this frame here's just another look and I've started to do this on some of my commercials with daylight and this is kind of like a Roger Deakins jam going on – is that like right here this is presumably leave like a Windows over there like behind his head and it's like BAM well BAM like hitting them with with light like this now this is a snowstorms I don't know where this hard lights coming from maybe it's supposed to be a lamp but he is basically this guy's basically getting lit by Samuel Jackson's beard so that's next level if I ever have Samuel Jackson on set I am definitely going to be lighting people with his beard because that's what's going on here here comes the hard light hitting him and it bounces back that's what's going on it's pretty it's pretty neat it does seem like if I look at this little rim light on his nose and his eye here's a little bit clean up there probably is a nice clean low low exposure some a beauty like going on but I think there is a bit of bounce coming here this diagram if you didn't hear me talk about it would be worthless to you let's move on today I think we're going to skip the tea break we're just going to do uh just go right through this I'm trying to shorten these up a little bit one for me to edit it one for you guys to watch they don't have to like say or for so long we're going to look at some of the actual behind the scenes of the lighting of these scenes um did we look at the low bounce yeah so we looked at that scene of this a close-up where he's being up late and this is kind of a look at that and I can't see everything and for the people that are like oh like you know you don't know you're talking about you're just like making it up and guessing and presenting it as a fact and like yeah I admit that is exactly what I'm doing I wasn't there I didn't get to talk to the gaffer I'm just doing what I'm applying what I think I would I know about cinematography and what I've learned from being on set and analyzing a lot of cinematography and I am guessing and this is my interpretation of it you know when I talk about the color correction the framing and what I think it means it's just that it's what I think it means and this is also what I think they're doing with the lighting this isn't an interview with him with Bob so this is my interpretation of it guys okay so like if you don't believe me that's cool you tell me in the comments which you think it is if this is challenging you to think because you don't think I know what I'm talking about I'm happy about that that's cool I'm all about that also up here is a part can what if it was in a park and um and it's coming down hard I should probably switch to like a warmer color and it's shooting down this hard light his hats going to keep it off his face and then this lighting is all about the return light back at him um what I wanted to call out here which I thought was kind of funny is that all the blood spots on this twelve by twelve which looks to be like a like grid what if it's a quarter grid look at all the blood on this thing man like this someone's getting this someone's getting this beneficence getting this twelve by back and they're like so this is the atoll by from the Quentin Tarantino shoot huh okay I guess I'm going to have Bob sign it give it to my kids I think that's what I would do with this bloody and just like put it up over the mantel be like that's the bloody that's the bloody twelve by from hateful eight guys and they signed it that's the blood right there they're like I'm going to have nightmares for weeks now dad so thank you so here is the Panavision camera is this the 70 ml like this that's the 70 mil camera it looks like a gigantic xl2 and this I believe is a Chapman hustler I don't know the Chapman is that well I'm trying to get them I'm trying to get more familiar with them I'm trying to learn all the accessories and that sort of thing because I am actively modeling these in 3d and I want the people who use chapman's to have some nice 3d models too that work um and then maybe after I start using them in 3d maybe I'll start to use them in real life too not sure just another shot of this kind of an interesting compound I'm going on here compared to the Fisher Dali I think this allows you to get the head lower easier interesting stuff going on and I always find these by in the scenes stills kind of funny when I can talk about the lighting so much more that it's like all these guys are dressed up in these like period outfits it's like this intense like you know narrative driven movie and then there's you know the sound guys wearing jeans like a flannel off least hoodie and this dudes like super bored he's like oh this take is taking so long it's just it's just funny cuz like when I watch this movie I'm not like I don't love violent movies and scary movies I feel like I was stressed out the entire movie but when you look at the behind the scenes it's just like extreme boredom which kind of happens on a lot of movie sets another look at just like the tremendous man up light that looks like there's some there's actually a source there's no way that that's only just bounce light but that's the idea is that's supposed to feel like the hot backlight with the return bounce even if you have to help it out a little bit uh we're looking into just some like kind of behind the scenes stuff now just like one of the bigger O'Connor heads I think it's the 120 X which is for big big cameras and this pan arm I've never seen before the red pan arm so I'm here's it here's a little bit of look in the future I'm actually going to be building Roger Deakins go-to crane setup which is an arrow crane with a power pod and I'm going to be building Roger D uh Bob Richardson's um GF 8 GF 9 + GF 16 cranes in 3d and I'm going to be doing little breakdowns to show exactly how they do their camera moves like everything like how the dolly moves with the crane how the head moves and I think it's going to be fun so all I know is that when I when I take a a 120 model that is like the Robert Richardson Bob Richardson model it's going to have this red handle that's all I'm trying to say Preston boom a bunch of flags going on have you talked about intense flagging yet how much flagging goes on on set I don't think we have it's going to be hard thing to show other than n3d I think and I think my last bit here that we're going to talk about is that clearly there's some baton strips up here and batten strips let's go Orange are these things that these wooden strips with literally just household light bulbs on them and you know who else does this Roger Deakins makes a big old like chandelier in the middle of the rooms just a big source that comes down tungsten bulbs you know tungsten was the predominant kind of light source when film cameras were being uh our film was being engineered I think daylight's works really well too but they balanced and optimized the film stocks and a lot of the early digital sensors towards tungsten now that's a lot I think the digital sensors are all daylight biased but so tungsten in general just looks good on skin for people of my generation and younger slash older they're just used to seeing tungsten light on people that's what they accept it's natural but these days if you grew up you know kids are going to start to really respond to an understand LED light on skin florescent light that's what they'll have grown up watching so when they say tungsten they're like that's what grandma looks like but when you go to light like a modern film it's like yeah florescent that's why I see a lot of florescent like Dave Fincher movies is because it's a little bit more of a modern thing and you see florescent and like stores grocery stores that sort of thing and then as we move into the future like in 10 years it's like all the practicals on set will probably be LED if it's a modern movie but you go back you go back into like a period movie like this tungsten has a little bit of that fire you know because you're essentially running electricity through a tungsten filament and that tungsten is getting so hot that it's glowing that's literally what's happening um that's a bit old-school at this point and tungsten Thompson's kind of like on the bye bye see you later thing as far as uh the environmental concerns of in Europe I believe tungsten is actually banned in the u.s. very close to being completely banned so while you can shoot with your baton strips and shame girl but also a big proponent of the baton strip and you teaches people how to make them at chains in so plug for Dave and Shane and Lydia over at the inner circle go check that out guys to wrap this all up we're going to do a bit of Panavision love so Panavision dropped this feature at a movie movie thing i should link to it on basically like what lenses they used and how much work it was now cool it was so this is Bob Richardson um and here he is presumably in like a projection room I think these are what like 70 more projectors look like um so yeah it was a lot of work to get these to be shown in the world I'll talk about that later so they talked about how Bob Richardson was hanging out at Panavision because when you're a big DP like that I think he's like shooting commercials or something like that I was just checking it out walking around and this is the story is that he found these like random lenses in the back and this is a Yaeger jr. cart or Yaeger senior Kerr I forget um and he just walking around and he was like what one of those weird lenses back there as how the story goes and walks up to them he's like you're not been a DP for a hot minute a hot hot minute this is his exact words um and he was like I've never seen these silver funny lenses before and you know what I love funny lenses I want to do something that's unique and he gets a little bit closer to them he's like what is this thing what what is this what is this crazy-looking lens how have I never seen this before you know and we're about to go shoot the hateful eight and it turned out that they were these really unique only use like eight times before something that like movies like like Ben Hur I'm misquoting probably just old old-school movies that are like you know the cinematic benchmarks for like you know a lot of cinematographers that are Bob Richardson's age and they basically ask them like can we use these we want to try them at least so they went and did these tests with these interesting 70-millimeter crazy anamorphic lenses and then they went and did tests this is one of those tests that they screen to the DGA um theater and they were like well these look amazing I think this buys I'm like awesome you know film history nerding out that goes on between Clinton and Bob about like these are the lenses that shot Ben Hur like oh my god oh my god I think that's exactly how that conversation went and they've got interesting lens flares they've got interesting kind of low contrast happening and they're high resolution you know they're high resolution lenses with a little bit of vintage going on that's supposed to project fine to capture 70 ml or 65 ml I'm not going to get into the exact 65 and the aspect ratios I just I don't care because you know what I'm never going to shoot with these I don't need to remember it that I have a lot of things I have to memorize in my life the exact aspect ratio and projection formats of these lenses not don't care um here's the more those lenses I think they said they made 15 sets or a lot of sets of these lenses just crazy they went re-engineered a bunch I think they are ramping up likely to be rent renting these for things like the old Alexa oh I'm writing this out the Alexa 65 and the red weapon I'm not going to edit out the aka sensors which are gigantic and you need essentially medium format cameras so in my time having a lens that covered 35 millimeter was like awesome or full-frame but now Alexa 65 a key I think that's actually bigger than full-frame in one of the dimensions I forget which one so these lenses they invested in reproducing them re– managing them re– managing rehousing them so that Bob could use them but now I think that they're probably gonna be out in the world being used for some of the bigger larger sensor capture systems that are out there so here is I forget our engineers name he's one of the head engineers at Panavision was helping to put this together and this is the first AC from hateful eight so you'll kind of see him around in some of the behind the scenes stills and here's them kind of talking about the process of finding the lenses that sort of thing in here is him putting the lens on and this is a gigantic film camera I think the xl2 is probably like half the size of this thing and this is always interesting so like Panavision lenses on the rail systems are also a weird distance but um they are they go on the side which is cool kind of keeps the footprint low down there and this is what a Panavision film tap looks like or I think that's the film tap in the video out it's it's an interesting interesting build and there's a lot of nostalgia for all these type of cameras and we might be doing Star Wars The Force awakens on one of the episodes and you'll see that uh Panavision actually made them a custom Death Star black xl2 or millennium I forget which one Panavision camera which is awesome another great thing to put next to your bloody twelve by twelve is is the is a Panavision camera that would be great in my house I would completely make a shrine for that here is the first day see kind of like playing around he's nothing he's actually doing things just kind of doing this for the video um but yeah just a cool look at this and if you guys that know Sid a designer who are like why are the stands orange or red look at those stands so let's look at the last frame here this is the inner movement of that Panavision we're just gonna drive it on it sixty five millimeter camera so I'm going to get this wrong because I'm not I'm not like a film you see it's been a hot minute but the film comes in like they're here and it's like hmm and then it goes through the gate and then it's like woo this is all wrong and it goes back into the mag so this is this things pulling frames pulling a frame of film it's pulling this much through every 24 seconds so it moves quickly it's engineering it's like this little clock and there's something romantic and terrifying about keeping this little machine running but these days we don't see much of that and these look like the modern actually these are probably the lenses I think those are the medium format ones that are going to start going out with the Alexis 65 on that sort of thing I know a couple friends that are already shooting with the 65 so jealous and I think those are the lenses they're using right now I'm pretty sure so guys that sure wraps it up for our look at the hateful eight um really interesting movie and not to get into the politics of it but I think it was it was it it was a cool a cool thing to dive into you know um I didn't watch Django but I sure as hell watched inglourious basterds which of course takes place in a very you know historically volatile time um during World War two with the Holocaust and we're in you know Quentin Tarantino I think does a good job of bringing up modern conflicts racial conflicts in the in America by placing them in history so you think you're watching a historical movie but I feel like there's like this obvious commentary on what's going on in these times now in this movie of course is sitting in the place of the Civil War kind of like right after the unconditional surrender where slaves were set free and the Confederacy was broken up I'm not a historian but you know so to throw someone to throw these people all in the same room one is from the north and african-american or black and then there's like a southern general you know who's killed his fair share of northern black soldiers it's you know there's there's a lot of like racial tension it's obviously in this and I think that um overall like the human message is that the question that they talk about is like you know just war justify murder you know and they're all like kind of judging each other we're like how much murder did you do were like well that's less than I did I don't murder that much only murder a little bit but you know when the you know the European comes in and kind of looks at it from like an unbiased perspective he's like he's like your line between justice and murder is really thin it's just like this legal system that you have which back then was probably even less made even a little bit less sense than it does now so I think that movie um for that context alone was really amazing I enjoyed it um I know some people who probably are not into like the heavy dialog of Quentin Tarantino movies may have been into it or who get like cabin fever by shooting a movie in the you know while watching a movie that's in a cabin in the snow the whole time but I thought it was really interesting I thought that they did um really really interesting um narrative uh portions or like the way the he broke up the segments and did the flashback and how the cinematography worked I was into it and I'm probably into it because I like Quentin T know Quentin Tarantino movies like I said I think my generation has been extremely influenced by both his work and Bob's work together and I hope that you guys enjoyed looking at some of the behind the scenes a little bit of the color correction a little bit of like the Panavision nostalgia that's going on here so that's going to wrap it up for this episode odhh um I just want to end up by saying that a center designer came out last Monday it's done really well we've got a really cool group of first people using it and if you're interested in learning more about Cinna designer um a specific like how do you actually do it I actually spent the entire week almost every single day recording like five videos a day and I made like I made a twenty part video course that's free at um it's going to be learned Cinna design.com or you can just go to the cinematography database website and go to the little link that says learned InDesign there are 20 videos that will take you from knowing nothing about 3d to using it to playing shoots honestly even up to this scale and I'm going to be building the exact cranes that he uses because a lot of my European friends use the gfm cranes and I'm going to be building the Roger Deakins crane and remote hit the power pod the era crane and I already have a bunch of cranes in there we're going to add more and we're going to be able to play around and I'm eventually going to be using those things to teach more on the cinematography database show so that's it had just learned Cinna design comm hopefully that domains up by the time this goes out it may not be if it's not up just go to the cinematography DB comm thanks so much for watching I forgot to answer question Oh actually I'm probably gonna do an episode where all I do is answer questions we've got about like I think like five to ten pretty cool questions that I can just bang out the answers to and a somewhat hopeful hopefully a helpful presentation so maybe we'll do that in one of the episodes like a mini episode in-between the Monday's the show comes out on Monday maybe we'll put it out on like Friday or something like that so thank you again for watching I'll check you guys later but