How Emmanuel Lubezki shot The Tree of Life

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The Tree of Life is undoubtedly one of Emmanuel Lubezki's best films, but not just because it looks incredible, but also because it's the starting point of the style he is now famous for, the ultra-wide angles, handheld, organic natural light, it was all the beginning of one of the most famous styles we see today.
So, in today’s video, I’ll be looking at the Equipment Lubezki used, his use of lighting and movement, spoiler alert, it’s 95% natural light, as well as the look he and Malick created, and that he is now famous for.
As always if you have a recommendation for an analysis, let me know below!
Timeline:
00:00 Introduction
01:00 Equipment
04:04 Lighting & Movement
06:37 The Look
08:21 Conclusion
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Source: britishcinematographer.co.uk/...
Source: theasc.com/ac_magazine/August...
Music:
The Thought of You - TrackTribe
Maestro Tlakaelel - Jesse Gallagher
Dance of the Sugar Plum Fairies - Tchaikovsky

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Опубликовано:

5 авг 2024

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Комментарии : 18

@adanrodriguez9140 Год назад

I can’t believe it took me this long to realize he shot the Cat in the Hat…

@canaldemais Год назад

thanks Angus, I had already read about his techniques used in Tree of Life...But your video was a very helpful reminded... it made me want to go out and film stuff..... I have watched and re-watched all of Malick's second generation films... I think The New World is my favourite. I tried to mimic his style in my last two projects (Changes and Doctor Faustus)... I think Malick and Lubezki are worth studying through these films because they help filmmakers free themselves from simple dialogue scenes and help us really adopt the "show don't tell" practice (which I personally find really difficult to do).

@megamatt1915 Год назад

great, informative video! chivo has got to be one of the most inspiring cinematographers out there.

@cin8films 7 месяцев назад

Thanks for the break down. Subbed!

@eversparx Год назад

Love this cinematic exploration so much! I'm obsessed with the challenge of sun-in-frame-while-seeing-into-the-shadow-side shots -- something that's so difficult to do with the vast majority of digital cine cams if no additional lighting/bounce is used (although I'm sure the new Arri Alexa 35 could handle it). Do you happen to know if Lubezki used bounce for the backlit exteriors... or... was it simply the marvel of film latitude? Thanks much!

@bhargavzalera Год назад

This is great 👏

@sadrasahranavard1684 Год назад

thank you for making these great videos 👏🌹

@AngusDaviesDP Год назад

Glad you like them!

@PostromoPictures 7 месяцев назад

Great video - as far as I've read, I believe the Red One was only used for some of Douglas Trumbull's VFX space sequences (as with the other digital cameras).

@kevinbrennan117 11 месяцев назад

Great video. Thanks so much! Do you know what size the lenses were that he was using?

@jorshsarmiento2708 11 месяцев назад

Thnaks!

@KhaldyFathy Год назад

❤️

@jamiazad4750 Год назад

Thx boss 🙏🏽

@cinematech5576 Год назад

Thanks for sharing!

@MightyThor10 7 месяцев назад

Which focal length did they use for the closeups, like the close up in the hands or the scene at 1:14???

@marvin8303 Год назад

What do ypu mean with " arricam is too loud for dialogue scenes?

@valentinemedvedev3113 8 месяцев назад

Didn't get why underexposed image is milky , maybe the opposite ?

@PostromoPictures 7 месяцев назад

When you underexpose, you have to push the stock in development which basically means chemically boosting the brightness - this creates a granier, lower contrast image (or in other words, milkier) due to the darkest parts of the image also being brightened.