The other thing when you have multiple main characters is it’s not always obvious whose point of view should carry the scene. It was like trying to watch a movie with bad audio.
This article really puts into perspective just how much thinking has to go into lighting to make it look like no thought went into it at all.But I realized it was also really helpful to shoot with spherical at night, when we were shooting with real candles and doing a lot more practical lighting.
Homemade is now on Netflix Netflix: Release; Original release: June 30, 2020 Homemade is an Italian-Chilean anthology series, following stories during the COVID-19 pandemic in the form of short films produced by filmmakers from all around the world. The way films that are about food you want the audience to feel like they can taste it, in this case I wanted to try to make the audience feel like they were walking in the mud and dealing with the elements and burning in the sun, that kind of thing.MORRISON: Yeah, and the ways in which we’ve progressed are so much more subtle than we think they are. Can someone explain what it means?For the most part, it was really about trying to balance interiors with the exteriors. My one fear going into it is—I had one not so great experience on an ensemble cast movie only because, in this day and age people’s attention spans are not what they used to be; Altman used to get away with ensemble cast movies but they were three-hour epics, or three and a half hours even. As a result, we had to load up the interior with a lot more light than I normally would just to get within range of the exteriors. I feel like especially with these skin tones I didn’t want the blacks to be brown, I wanted the opportunity to have rich blacks and still have something that felt of a different time period.
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The cinematographer, who shot Netflix's Mudbound, directed by Dee Rees, expertly captured the earthy tones and textures of 1940s Mississippi despite limited resources and constantly changing weather. The mud was a character, the weather was a character, the house was a character.
Between wanting to work with Dee and then this script that was so powerful, and a period film is sort of a gift to any cinematographer, and I also just found it incredibly timely from both a race perspective and a gender perspective.
So the initial jumping off point was looking for a way to still have colors, still have blacks, but maybe not as poppy as they would be now.MORRISON: I think every year though people sort of have that same [conversation]. I wouldn't say "gritty," but the "less polished" feel of the film versus other period films, which tend to be very polished.
I ended up shooting mostly anamorphic during the day and mostly spherical at night.In a perfect world, I would have shot film for day and digital for night, because I actually thought it was really helpful to have that extra latitude and stop at night. When we compared with film, we were happy with how analog we got it to feel in the end.Really great article!
Rarely have I ever been distracted by the way a movie was lit and processed to this degree. I think if you look at the Jackson story there’s a real wood theme and color palette to it.
Kristen Stewart, Maggie Gyllenhaal, Rachel Morrison, Pablo Larraín, Gurinder Chadha, and Paolo Sorrentino are just a few of the filmmakers who created personal, moving stories that capture our shared experience of life in quarantine — while IN quarantine. December 1, 2017 at 10:14AM, Edited December 1, 10:14AM"This was the hardest I've ever had to work to make natural light look natural."Lighting? "I ended up shooting mostly anamorphic during the day and mostly spherical at night. One side was black or the eye sockets were blacked out.
For me, a lot of period films almost stylized the period.
She has twice worked with director Ryan Coogler, first on Fruitvale Station (2013) then on Black Panther (2018).
It is surprising to me that what I consider the movie's greatest weakness is exactly what is praised in this review. Cinematographer Rachel Morrison discusses making 'Mudbound' tactile, shooting on digital, Netflix, and making 'Black Panther' a distinct Marvel movie. You could barely ever see a whole face. I mean to me everything about this film wanted to be analog and unfortunately at the end of the day we just couldn’t afford to shoot on film without losing shooting days, and we didn’t have enough shooting days as it was.
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