james deakins

Director of Photography Breakdown - Roger Deakins

Roger Deakins. A man who has developed the irrefutablereputation of a cinematographer with unmatched consistency. If he works on amovie, it looks good. His style is often referenced for what we have come toexpect in aesthetically pleasing contemporary cinema. In this post I willattempt to break down constant techniques he uses and develop through linesbetween films.

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Wide Shot

Deakins is a master of the extreme wide shot.Perfect lens choice and composition allow him to establish space like no other.Often these shots are used at the beginning or end of a scene to lead us intoor ease us out of a moment. I find that when I experience shots like thisviscerally, with the character, it provides a perfect entrance into the headspace of the characters within the scene. The shot from Skyfall (upper middle shot) is not only incredible to look at, but it is used as an opener to establish the emotional turmoil he is experiencing by returning to the harsh and unrelenting landscape of his childhood. In the top shot from True Grit, the shot is used to establish the isolation and privacy Mattie hops to experience when visiting the grave of Rooster.

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Establishing Shots

I think these are my personal favourites when it comes to Deakins work. Every establishing shot is on point. Not only are they all composed to perfection, but the slight tweaks in variety keep them interesting. I found 4 examples in which the subjects are never in the same part of the frame. On top of that, he uses leading lines and lens choice to create depth and completely establishes colour palette for every scene with these awesome shots.

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Mid Shots

Although there are only two examples here, they are the perfect ones to represent the strength in Deakins’ mid shots. For the first shot, both the vertical and horizontal thirds are filled with interesting material. It creates immediate depth with the shallower depth of field, with the closer out of focus grass, the subject and then finally the fence trees and sky outside the focal plane. In the second shot from Prisoners it demonstrates Deakins’ excellent use of the leading lines in the desk to draw our eye to the subject in the center of the frame. It is also a perfect representation of his use of practical’s to light a subject in low light.

Close Ups

Finally the close ups, the bread and butter of most DP’s. Deakin’s is definitely a fan of unconventional these types of shots. These frames scream unconventional, from a close up with no light on the subject, to the side view of the parked car, they are trying to break the mold of what we expect from an average close up shot. Why follow the textbook when you can create your own.

I know this is a Louis/Family account, but I would just like to say that Dunkirk looks like such a amazing movie oml. I’m so excited to watch it. Xoxo, Elle.

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Skyfall (2012)

Director - Sam Mendes, Cinematography - Roger Deakins

“We are not now that strength which in old days moved earth and heaven, that which we are, we are. One equal temper of heroic hearts, made weak by time and fate, but strong in will. To strive, to seek, to find, and NOT to yield.”

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“He was growing into middle age, and was living then in a bungalow on Woodland Avenue. He installed himself in a rocking chair and smoked a cigar down in the evenings as his wife wiped her pink hands on an apron and reported happily on their two children. His children knew his legs, the sting of his mustache against their cheeks. They didn’t know how their father made his living, or why they so often moved. They didn’t even know their father’s name.”

The Assassination of Jesse James by the Coward Robert Ford (2007), Andrew Dominik

cinematography by Roger Deakins

His walk is so cute. 😍. Freddie on Tammi’s snapchat.

May 06, 2017•

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The Assassination of Jesse James by the Coward Robert Ford (2007)

Directed by: Andrew Dominik
Cinematography: Roger Deakins ASC, BSC
Cameras & Lenses: Arricam LT / Arriflex 535B, Cooke S4, Arri Macro, Kinoptik Tégéa and Kardan Shift & Tilt Lenses
Format: 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218) + bleach bypass
Mode: Spherical (super35)
Aspect Ratio: 2.35:1

📲| The video Daisy received from Louis 💜💜. He’s the sweetest human being. Oml 😍|

May 02, 2017•

📲 | Niall left this comment on the picture Louis posted on Instagram

May 1, 2017 •