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المحتوى المقدم من The Cinematography Podcast. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة The Cinematography Podcast أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.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
المحتوى المقدم من The Cinematography Podcast. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة The Cinematography Podcast أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.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
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300 حلقات

Artwork
iconمشاركة
 
Manage episode 304000928 series 2808889
المحتوى المقدم من The Cinematography Podcast. يتم تحميل جميع محتويات البودكاست بما في ذلك الحلقات والرسومات وأوصاف البودكاست وتقديمها مباشرة بواسطة The Cinematography Podcast أو شريك منصة البودكاست الخاص بهم. إذا كنت تعتقد أن شخصًا ما يستخدم عملك المحمي بحقوق الطبع والنشر دون إذنك، فيمكنك اتباع العملية الموضحة هنا https://ar.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
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300 حلقات

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مرحبًا بك في مشغل أف ام!

يقوم برنامج مشغل أف أم بمسح الويب للحصول على بودكاست عالية الجودة لتستمتع بها الآن. إنه أفضل تطبيق بودكاست ويعمل على أجهزة اندرويد والأيفون والويب. قم بالتسجيل لمزامنة الاشتراكات عبر الأجهزة.

 

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