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Contenido proporcionado por James Ellis Deakins and Roger Deakins. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente James Ellis Deakins and Roger Deakins o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.
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TRISTAN OLIVER - Cinematographer

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Manage episode 439317936 series 2750147
Contenido proporcionado por James Ellis Deakins and Roger Deakins. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente James Ellis Deakins and Roger Deakins o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.

SEASON 2 - EPISODE 106 - TRISTAN OLIVER - CINEMATOGRAPHER

In this episode of the Team Deakins Podcast, we speak with cinematographer Tristan Oliver (ISLE OF DOGS, PARANORMAN, CHICKEN RUN). Tristan generously shares his extensive knowledge of stop-motion animation with us, and we spend the majority of the episode learning the ins and outs of shooting 9-inch puppets in a warehouse. Tristan reveals how he (and up to 50+ active units) prepares the lights and cameras for scenes in such a way that doesn’t impede upon the work of the animators physically bringing the characters to life, and we discuss the effectiveness of applying the principles and practices of live-action cinematography into the world of animation. In addition to his work in stop-motion animation, Tristan has contributed to live-action projects such as POOR THINGS and the uniquely realized LOVING VINCENT, and he reflects on his experiences in both projects. In the back half of our conversation, Tristan shares how he really felt working with director Wes Anderson on FANTASTIC MR. FOX and ISLE OF DOGS, from learning how to work together on the former to engaging in a battle of wits over the feasibility of deep focus in the latter, and we learn in which films Tristan sees the most of himself. At the end, we close our conversation with an appreciation for the enduring quality of that which is handmade over that which is merely manufactured.

-

This episode is sponsored by Aputure

  continue reading

276 episodios

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TRISTAN OLIVER - Cinematographer

Team Deakins

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Manage episode 439317936 series 2750147
Contenido proporcionado por James Ellis Deakins and Roger Deakins. Todo el contenido del podcast, incluidos episodios, gráficos y descripciones de podcast, lo carga y proporciona directamente James Ellis Deakins and Roger Deakins o su socio de plataforma de podcast. Si cree que alguien está utilizando su trabajo protegido por derechos de autor sin su permiso, puede seguir el proceso descrito aquí https://es.player.fm/legal.

SEASON 2 - EPISODE 106 - TRISTAN OLIVER - CINEMATOGRAPHER

In this episode of the Team Deakins Podcast, we speak with cinematographer Tristan Oliver (ISLE OF DOGS, PARANORMAN, CHICKEN RUN). Tristan generously shares his extensive knowledge of stop-motion animation with us, and we spend the majority of the episode learning the ins and outs of shooting 9-inch puppets in a warehouse. Tristan reveals how he (and up to 50+ active units) prepares the lights and cameras for scenes in such a way that doesn’t impede upon the work of the animators physically bringing the characters to life, and we discuss the effectiveness of applying the principles and practices of live-action cinematography into the world of animation. In addition to his work in stop-motion animation, Tristan has contributed to live-action projects such as POOR THINGS and the uniquely realized LOVING VINCENT, and he reflects on his experiences in both projects. In the back half of our conversation, Tristan shares how he really felt working with director Wes Anderson on FANTASTIC MR. FOX and ISLE OF DOGS, from learning how to work together on the former to engaging in a battle of wits over the feasibility of deep focus in the latter, and we learn in which films Tristan sees the most of himself. At the end, we close our conversation with an appreciation for the enduring quality of that which is handmade over that which is merely manufactured.

-

This episode is sponsored by Aputure

  continue reading

276 episodios

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