Hanzo Shimada has been hired to assassinate bounty hunter Jesse McCree. The job proves to be more complicated than expected as the man reveals to have information about Hanzo’s long missing brother. In exchange for his life McCree promises his help in finding out what happened to Genji.
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.
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.
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.
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.
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 was hoping I could show you how special I am. I honestly believe I’m destined for great things, Mr. James. I’ve got qualities that don’t come shining through right at the outset, but give me a chance and I’ll get the job done. I can guarantee you that.
“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
“Most of those shots were used for transitional moments, and the idea was to create the feeling of an old-time camera. We weren’t trying to be nostalgic, but we wanted those shots to be evocative. The idea sprang from an old photograph Andrew (Dominik) liked, and we did a lot of tests to mimic the look of the photo.” -Roger Deakins on his lens used in The Assassination of Jesse James by the Coward Robert Ford (2007) dir. Andrew Dominik