(May-24) marks the 69th birthday of THE CAMERA MASTER ✨🎥
R O G E R D E A K I N S
The lighting in #SKYFALL oscillates from white to blue to yellow, as #JamesBond traverses each new location. The film was shot in digital on an Arri Alexa, using one or two cameras in a very traditional way. #SamMendes points out in this interview, that cameras don’t need to be moving for the film to be exciting, unlike the overabundance of steady/vomit cam in action movies these days. He says:
The camera doesn’t move that much. The action is moving, and the camera moves with it. It’s not just moving for the sake of moving.
Here is a brief breakdown of my 2 favourite scenes.
1.THE SHANGHAI FIGHT
#Bond hitches a ride under an elevator to track down an assassin. Deakins’ use of bokeh elevates what could be just another fight scene into pure artistry. While this scene was shot on set in #Pinewood, it evokes a futuristic #Shanghai. The decision to film in a glass filled room echoes the credits sequence, the visual language implying that this is a film about reflections, and the past of Bond himself.
The assassin looks out on a single yellow lit apartment, contrasting with the deep blues of the projections on the skyscraper. It reminded me of Soderbergh’s use of deep colour. What is most remarkable about this scene, and perhaps invisible to the viewer, is the amount of mirrors and reflections, which would have made it incredibly difficult to shoot without getting the camera in frame!
Bond sails across the lantern lit lake into the mouth of a dragon, reminiscent of sailing the river Styx to reach the underworld. Lit by hundreds of lanterns, the scene has a jaw-dropping wow factor in the sheer beauty of the location and the set dressing. The long slow tracking shot anticipates the action that is to come. With the fireworks going off in the background, it is just a perfectly beautiful moment where everything works!
HAPPY BIRTHDAY TO MY MASTER🙏
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