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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

The Cinematography of Inglourious Basterds (shot by Robert Richardson)

Good stuff.

Why do you think Tarantino used really hot lights for many scenes like (on the table) when they are sitting at the French Farmer's table and when Brad Pitt comes down the stairs after the shoot-out.

I never could figure out if this was a mistake or what aesthetic QT was going for?
 
The overexposed pools of toplight combined with lens diffusion to create glowing halos are part of cinematographer Robert Richardson's photographic style. If you look back at his many films over the past 30 years (many with Oliver Stone, Martin Scorsese, and Quentin Tarantino), you'll see it over and over again. JFK, Natural Born Killers, The Doors, Casino, Bringing Out the Dead, Kill Bill, etc. Many DPs and students have copied this technique and adapted the style over the years. Janusz Kaminski probably took it the furthest in Minority Report and War of the Worlds, glowing almost the whole frame at times.
 
Linda Barzini said:
Good stuff.

Why do you think Tarantino used really hot lights for many scenes like (on the table) when they are sitting at the French Farmer's table and when Brad Pitt comes down the stairs after the shoot-out.

I never could figure out if this was a mistake or what aesthetic QT was going for?
Click to expand...

Thanks Linda :) Like Satsuki mentioned, it's totally a deliberate style and not a mistake at all. I love what bounced light from below looks like, especially when the thing it's bouncing off is part of the frame, like here. Not completely over exposed either, but close ;)
 
Satsuki Murashige said:
The overexposed pools of toplight combined with lens diffusion to create glowing halos are part of cinematographer Robert Richardson's photographic style. If you look back at his many films over the past 30 years (many with Oliver Stone, Martin Scorsese, and Quentin Tarantino), you'll see it over and over again. JFK, Natural Born Killers, The Doors, Casino, Bringing Out the Dead, Kill Bill, etc. Many DPs and students have copied this technique and adapted the style over the years. Janusz Kaminski probably took it the furthest in Minority Report and War of the Worlds, glowing almost the whole frame at times.
Click to expand...
Yes!
 
Mike McMillin said:
Dude its 1:35 am. Ive read this 3 times, tried to make my own analysis on some of the shots tricking myself into pretending I forgot what you said about them. My eyes hurt I think I've been looking at this for hours. Thank you for doing this, awesome work.
Click to expand...
hahaha thanks Mike, so glad it got you thinking, sorry to keep you up! Cheers man :)
 
Sir Great work..........Thank you for sharing this...........I salute you sir


Sunil Prem
 
Yo Matt, this is fantastically designed and presented, but your analysis and commentary is even more brilliant. I'm sure you are a wonderful cinematographer, but I'm glad you dedicate some time to sharing your insightful thoughts with the world. Somehow, you were able to sum up many years of experience into an easy to ingest blog post. Bravo.
 
Satsuki Murashige said:
The overexposed pools of toplight combined with lens diffusion to create glowing halos are part of cinematographer Robert Richardson's photographic style. If you look back at his many films over the past 30 years (many with Oliver Stone, Martin Scorsese, and Quentin Tarantino), you'll see it over and over again. JFK, Natural Born Killers, The Doors, Casino, Bringing Out the Dead, Kill Bill, etc. Many DPs and students have copied this technique and adapted the style over the years. Janusz Kaminski probably took it the furthest in Minority Report and War of the Worlds, glowing almost the whole frame at times.
Click to expand...

Very true Satsuki. Here's a great case study.

http://chelcieharman.wordpress.com/2013/06/06/director-of-photography-case-study-robert-richardson/
 
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