People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.
A vlog look is a very specific look, and it's basically a phone look.
I think most of our eyes are trained to background being completely out of focus, but you can't do that with an iPhone unless you manipulate it quite a lot in post. You have to accept the fact that your film is going to look a little different on the big screen. Even though the resolution holds up, it does have something very different about it.
A film that is bleached tends to have a more realistic quality.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
In terms of how [Allied] looks, it's fantastic and much better than I had hoped because it's so lush and so beautifully executed.
Digital is great; I see the benefits and beauty in both formats. But it doesn't give you that organic quality that celluloid brings.
I'm definitely not drawn to shooting on a stage, I'm just not.
I love celluloid. I love the look of it.
I've learned a lot about getting film sensibilities on digital.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I've heard it said many times, 'Let's work on the look of the film,' but that doesn't work with me.
A lot of times on our show, 'Shadowhunters,' we have excuses to dawn some kind of sexy black leather attire under the excuse that we're going to fight demons, but it's all part of the tone of the piece and the tone of the story.
At the time we did 'Night,' I was a director of television commercials. Some of them cost a lot more than our whole movie. They were very slick, sophisticated... we wanted the opposite look for 'Night.' We wanted it to look like a newsreel.
My lighting tends to use contrast as a reflection of the stakes in the scene. The higher the stakes, the more I feel I can get away with an exaggerated contrast.
[Code Black] doesn't look like any other CBS show... and I don't mean that as any sort of judgment. It's just unbelievably unique, it's gorgeous, and it looks like a film.
When you look at my film you see footage that is unbelievably awesome and beautiful and dangerous looking. It's something that is very, very cinematic.
