Author Topic: Kieslowski  (Read 8828 times)

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wilder

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Re: Kieslowski
« Reply #45 on: August 12, 2016, 04:25:57 PM »
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Janus Films' trailer for the Dekalog restoration

wilder

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Re: Kieslowski
« Reply #46 on: October 16, 2016, 06:35:22 PM »
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Someone attended a Q&A with Kieslowski’s DP Slawomir Idziak over the weekend and asked him a few questions about his process. Thread on the cinematography.com forums here.


Quote from: Sebastien Scandiuzzi
Hi Everyone, 
 
Slawomir Idziak, one of my favorite DP's, is going to be in Seattle for the Polish Film Festival and I'm excited to be moderating his master class, 1PM Oct 15th at SIFF. I'm also lucky to introduce screenings of The Double Life of Veronique (Oct 14th, 8PM) and Gattaca (Oct 16th 5:50PM).
 
What would you like to ask him? Any particular scenes or techniques you'd like him to breakdown?
 
I obviously have my own: his use of filters; his work with Kieslowski, Zanussi, Wajda; working in Russian controlled Poland and after the 89 revolution and a few more. I'd love to hear from others I'm sure there are some great questions I haven't considered.


Quote from: David Mullen ASC
I’d love to hear how he got the wash of blue light that momentarily covers the frame in "Blue" when she hears music in her head - particularly when she is sitting in a chair at the hospital. And that shot of the doctor reflected in her eyeball...


Quote from: Sebastien Scandiuzzi
Wow. I definitely wasn't expecting to hear his solution to the scene in 'Blue' (the blue wash over Binoche)! I asked if he simply panned a gelled light to the right of camera but he said it wasn't getting the result he wanted so he decided to wrap the camera in blue gel and then open the back to flash the film!!! Amazing. Flashing isn't anything new but I've never heard of DP's wrapping the camera in gel. I suspect you knew it wasn't a gelled light...
 
He said the shot of the Dr reflected in the eyes of Binoche was a 200MM macro and the Dr was lit with a black wrapped 5K. He talked about his extensive collection (over 1000) found, bought and custom filters. He usually brings 500-600 with him in sets of 30 labeled alphabetically with a fliter 'map' for the AC so he can say "get me filter B 15" for his blue custom grad filter. Incidentally, he has a custom matte box with 6 slots so he can layer multiple filters and adjust them on all axis'. I asked if then filmed with a faster film stock because of the multiple filters but he said no, just the normal Eastmancolor but he said he couldn't remember the type of film. 
 
I also wanted to know how he got the blurred effect in Double Life of Veronique (when Weronika dies and they cut to Veronique making love). He used a magnifying glass in front of the lens while holding the camera! Again, it's not an original technique but to do both at the same time was quite impressive. I was interesting to hear how much Kieslowski was against a lot of Idziak's ideas for Double; the cyan/yellow color filters, the lens effects and said he was constantly at odds with Kieslowski for each of their features together. Interesting not because of the disagreements but because of how strong willed and confident he had to be, which was a good reminder.
 
All in all it was a great night, very informative, relaxed and fun. I'll see if I can find out who filmed the discussion to post.

 

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