I remember watching an interview with Bradford and -paraphrasing here- he said ' the first thing I do when I prep a room to shoot it, is blackout everything. The ceiling the floor and the walls that won't be shot'. He really loves that negative fill.
So excited to see you covered Young work! His way of seeing cinematography is a very unique one. Thanks for your analysis! And maybe a video on lighting techniques in the future.
I love these breakdowns and I appreciate the additional information you provide to us in the description. Bradford Young is my favorite cinematographer and this was so informative to watch!
Thanks. All are techniques that can really soften and elevate the look of the lighting for relatively minimal expense (all it takes is having black or white pieces of fabric).
Man this is so amazing I love all your uploads. I wish you could talk about this topics in the future. i. Different uses of apeture & shutter speed. ii. Costumes, palettes & set designs. Thanks and keep sharing this amazing knowledge to the world.
I have to say, I am loving your videos. They are a joy to watch and give some wonderful information, not only for anyone creating video but for me as a photographer, I find it fascinating and informative.
Thanks Michael. There's definitely a huge amount of cross over between stills and moving images. I also love photography and try to implement cinematography principles into my stills whenever possible.
Can a video be informative, therapeutic and equally engaging? yes only if it's from In depth Cine. Thank you for putting such in-depth content into the world. Take a bow, team In depth cine and keep doing awesome videos in the future and keep them coming 🙌🙌🙌
Wow, great video! I'm so happy I heard about this channel today. This was really informative and there's a few films in here that I hadn't seen so gonna go check them out.
This dude is really impressive. His cinematography in the under appreciated film A Most Violent Year reminds me of Gordon Willis’ lighting in The Godfather
I thought his stye was perfect for Arrival but I remember thinking how much I didn't like how Solo looked at the time. Just my taste but way too flat for that film for me. Good for him for not compromising his vision though, up to the producers who they hire at the end of the day.
@@InDepthCine Seconding this!! I LOVE Bill Pope as a cinematographer especially in some of the more stylish movies he's done like Scott Pilgrim and The Matrix, would love a video on him!
As Picasso once said " When I was twelve, I painted like Raphael, but it took me a lifetime to learn how to paint like a child. " P.S. love these vids. Thanks fot doing it. keep it going
Interesting because I personally don’t agree. I felt that the dark, monochrome look clashed with the film when trying to be whimsical and I just straight up had a hard time seeing the characters in certain scenes. I like Young’s style, it just didn’t work for me in Solo. That being said, I’m glad that you enjoy it and do not wish to invalidate your take. Merely to elaborate on your perspective on it. Also, hell yeah! Shooting close with wide angle lenses for the win!
The cinematography was the one redeeming factor in 'Solo', (a film notable for making the coolest character since Rick from Casablanca the least cool character in big budget movie history). A movie so bad it kind of ruined Han retroactively in the first trilogy, seriously I re-watched Star Wars ('A New Hope) and when The Kessel Run came up I cringed knowing that 1) it's not an actual badass achievement, and 2) it wasn't even Han piloting it. Rant aside, it was a beautifully shot film.