Photographer Dickinson conquers the world’s leading directors with unpretentiousness

Photographer Dickinson conquers the world’s leading directors with “unpretentiousness”
At the 92nd Academy Awards, photographer Roger Diggins, who was nominated for 15 times in history, harvested his second gold medal.From “The Shawshank’s Redemption”, “Beautiful Soul”, “Old Nothing”, “Long Reader”, “Blade Runner 2049” to the latest war film “1917”, Roger Dickins, as one of the best contemporary cinematographers, insists onChallenges and innovations in his own films.As early as 2010, the American Society of Cinematographers awarded him the Lifetime Achievement Award. His famous colleague Robert Aswitt (“Scarlet” Photography) said that there should be a special film type, called Roger· The film that Dickins is in the mirror.Roger Dickins was born in England in 1949. Due to his interest in photography, he moved to the National Film and Television Academy system to study film photography during school.He started with documentaries and TV shorts. In 1984, he participated in the film “1984” as a director of photography, and was gradually replaced by the public.Since then he has collaborated with the most well-known directors today, Cohen Brothers, Villeneuve, Sam Mendes and so on.In 1995, Dickins won the first Oscar nomination for Best Photography in “The Redemption of Shawshank”.Andy, who was temporarily modified due to schedule and cost, opened a pair of shots to meet the downpour after he escaped from prison, becoming one of the most classic shots in film history.The classic “Welcome to Freedom” still in “Shoushenk’s Salvation”.Dickins adhered to his principle of taking characters and stories as the basic starting point, and did not let the form of the picture itself exceed the existence of the story. He once said: “There is nothing worse than a show-off lens.”He doesn’t like to use multiple cameras, he doesn’t like to use the alignment lens, and he doesn’t like to post-adjust the color. He always puts the” simple “style first.Although Diggins admits that he does not believe in the style of his cinematography, his lens is still highly recognizable.He has the delicate composition of a still photographer and the natural feeling of a documentary director. These seemingly “plain” styles actually make the images under his lens full of incredible artistic precision.Perhaps because his naturalistic photography is too perfect, it is often overlooked by the exquisiteness of “natural”. Although he has won numerous awards in photography films, it was not until 2018 that the 69-year-old had the “Blade Runner 2049”.》 Oscar Award for Best Photography for the first time.Dickins believes: “The matter of photography cannot be copied.”This job is how you see the world. I think life experience is always more important than professional knowledge.”Cooperating with the Cohen Brothers: Using the simplicity and naturalness to set off the black crazy Roger Dickins and the Cohen Brothers. The cooperation started in 1991 in” Barton Fink “and has so far cooperated in twelve feature films.This includes the famous “Blood Blood Storm”, “Old Nowhere”, “Thunder on the Earth” and “Three Kings”.Dickins and Cohen Brothers (both in the latter picture) have collaborated many times.Dickins once recalled that he was most impressed with the Cohen brothers by the preparation of the two men in the pre-production stage. Because of their limited funds, they will spend a lot of time in the layout of the scene and the storyboard due to the limited funds.In the process, even the composition and the trajectory of the camera must be meticulously designed early.Dickins quickly adapted to the way they work, changing the way the storyboard was used as a reference for live shooting.Stills of “The Absent”.Most of the films of the Cohen Brothers are black, complicated and even crazy, while Dickins insists on the principle of photography that is simple and natural, close to the natural light effect, and does not allow the image to be the master.Before shooting “The Absent”, the Cohen brothers suggested that Diggins use old-fashioned black and white film to shoot this black and white film, but Diggins had his own idea: “Black and white film has not changed in decades, but the colorThe grain of the film is much smaller than it was a few decades ago, and it has a great advantage in dynamic range, so I will shoot in color film anyway, and then turn it into a black and white picture. “Co-operative with Villeneuve: No use of late doping, using the light to the extreme Since 2013, Diggins and Dennis Villeneuve have become new partners, and the two have worked together to complete “Prisoner” and “Border Killer”.The work, and the three-time cooperation “Blade Runner 2049” won the best photography award at the 90th Academy Awards.In order to show the realism of the lens, Dickins always insisted that all lights, colors, and colors should be shot in the live lens, rather than using the post-substitution method, which was also played to the extreme in “Blade Runner 2049”.Las Vegas, which is full of dense orange haze, is the effect of mixing different colors of lights at the shooting site after Diggins refers to some images of the haze city.He believes: “We can complete the special effects with the green screen and the post, but it will never be that real.We usually surround the scene with gray boards or reflective materials to get the desired effect.The visual effects group then had to manually key, but now keying is much easier than in the past.Even in the scene of the scene, I think it is possible to use a green screen, because it will not affect the foreground, but I will not compromise on the color at close range.”Las Vegas is full of heavy orange haze in Blade Runner 2049.”In “Blade Runner 2049”, Dickins relied on the settings of light projection and reflection to the water surface to build a daylight effect inside the enclosed space, and almost all lighting tools were used in many scenes.The male actor Ryan Gosling recalled in an interview: “It looks shocking . I was drowned in huge settings and lights, and at the same time I was dumped for their exquisiteness and beauty.”The art of the film, Gassner, said: “Everything in the lights is a role for Roger.This movie is a testament to his powerful ability to control lights.”Cooperate with Sam Mendes: Using handheld photography and braking to allow the lens to interact with the characters. The cooperation between Roger Dickins and Sam Mendes began in the” Road of Revolution “in 2008.The subsequent collaboration between the two of them, “007: The Big Breaking Sky” is known as one of the best filmed action films in the 21st century. From the neon flashing aiming war to the chase of the London Underground, the richness of the scene is jaw-dropping., Dickins gave the content shot in these studios real power.Dickins and Sam Mendes were filmed at the film “1917”.In the latest war film “1917” with Sam Mendes, Roger Dickins once again broke his limits.”1917″ doesn’t take a single lens to complete the whole film in a real sense, but uses clip points and special technical means to connect the lenses together to create a look and feel in the end to achieve an immersive experience.As early as 2005 when he filmed the film “Gouaitou” with Mendes, Diggins used handheld photography in almost all theaters, stepped on the lens to interact with the characters, and focused on the lens’ presence.These lens methods are more prominent and mature in “1917”.Since it was decided to use a shooting technique at the end of the script, Dickins and Mendes began to work together. The two spent a lot of effort to write scripts and ideas, and began “rehearsal.”The camera crew drew trenches in the hay, built stakes, braked to understand the time spent in each scene and the time between each action, and Diggins took all photos with a small Sony handheld camera.In order to complete complex lens movements, shooting and performance need to be highly coordinated.In an interview, Dickins once explained a scene at the end of the film: “Scofield (George McKay) needs to go to the front line at that time. When he fell in the trench, the camera was installed.在50英尺高的起重机上,跟着他一起进入战壕,然后摄影机再被取下放到另一个车的起重机上,继续跟着乔治跑,最后随着爆炸一起‘摔’到战壕里。This kind of shooting needs about 13 times to finally complete.”But at the same time, Dickins also believes that keeping the actors and the camera at the same rhythm, that everyone is in the same situation, is the beauty of this movie.Shot of Scofield running at the front line at the end of “1917”.Because the plot in the film needs to be carried out on a cloudy day, Dickins downloaded six apps about the weather on his mobile phone. Before each shooting, he must query the app to know when the cloud will cover the sun.The actors came out halfway through the sun and therefore had to stop, which was a huge consumption for the actors and the script team, and also put a lot of pressure on Dickins.He joked that he was a little fascinated by war. Before the filming, he not only researched other war movies and photo photography, but also traveled to the French front with his wife and friends and visited many old battlefields.”I don’t know how they directly affect you, but it’s a great thing to have this feeling in your mind.”Roger Diggins’ Oscar” sadness “As the” uncrowned king “of the photographer world, Diggins has been nominated for the Oscar for the best photographer many times, although he had only won the Oscar once with” Blade Runner 2049 “., But his naturalistic photographic aesthetics and his dedication and constant innovation still affect all film creators.1995, “Shenshenke’s Redemption”, lost “Burning Years” 1997, “Ice Blood Storm”, lost “British Patient” 2001, “Three Prison Breakers”, lost “Crouching Tiger, Hidden Dragon” 2002, “The Absent Person, lost “The Lord of the Rings” In 2008, “The Death of the Sharpshooter” + “Old Nowhere” (double-nominated), lost “Blood is coming” 2009, “Long Reader”, lost “The Slumdog Millionaire”In 2011, “The Thunder of the Earth”, lost “Theft of Dream Space” 2013, “007: The Big Breaking Sky”, lost “The Young School” 2014, “Prisoner”, lost “Gravity” 2015, “Indestructible”,Lost “Birdman” 2016, “Border Killer”, lost “Wild Hunter” 2018, “Blade Runner 2049”, won the award.Sauna, Ye Wang Li Yan editor Huang Jialing school against Wu Xingfa