Bob Yeoman on Cinematic Lighting — The Lights, Cameras, and Lenses in Wes Anderson Movies

Подробнее о видео

Bob Yeoman, Wes Anderson’s go-to cinematographer, explains cinematic lighting and how they shoot their movies like The Grand Budapest Hotel, Moonrise Kingdom, and more.

Robert Yeoman Style ►►

Special thanks to:
The Team Deakins podcast ►►
AbelCine ►► ,
ArriChannel ►►
ProAV TV ►►
ADAPT Television History ►►

Chapters
00:00 - Bob Yeoman Introduction
00:45 - Chapter 1 - Lighting & Operating
03:27 - Chapter 2 - Going Digital
05:53 - Chapter 3 - Lenses
08:12 - Chapter 4 - Filmmaking Advice

Bob Yeoman is a cinematographer and a bit of a chameleon. He’s shot movies for directors like Gus Van Sant, Kevin Smith, and Roman Coppola. But his most consistent and well-known collaboration over the last three decades has been with Wes Anderson. Starting with Anderson’s first film Bottle Rocket, Yeoman has shot every live action film for the auteur since. In this video, Bob Yeoman walks us through his approach to cinematography in general and how Wes Anderson shoots movies specifically.

For The Grand Budapest Hotel, Yeoman discusses how the main hotel set was able to be mostly lit with practical lights, allowing them to blaze through scenes. He also recalls a moment of precise and precarious camera operating on top of a 5-story platform in the middle of the hotel. The scene called for him to whip pan between multiple characters and positions during a gunfight but found himself struggling to hit each position accurately without shaking the platform. His solution was to mount a laser pointer on the camera pointing down at marks he made on the floor.

For camera lenses, Yeoman explains how they would use mostly a single focal length on the early Wes Anderson movies like Bottle Rocket, Rushmore and The Royal Tenenbaums. For Moonrise Kingdom, he admits that even though the zoom lenses they used tended to lack the definition of the prime lenses, he was outvoted by Anderson. Bob Yeoman also relates how his transition to more digital filmmaking has been facilitated by LED film lighting. He explains how the flexibility of Skypanels have still given him the cinematic lighting he’s looking for.

Wes Anderson cinematography is a defining characteristic of Wes Anderson movies. Even Anderson’s stop-motion movies shot by Tristan Oliver bear his signature look. But the contributions of cinematographer Bob Yeoman cannot be understated.

#FilmTheory #VideoEssay #Filmmaking


─────────────────────
VIDEO EDITOR: BRANDON SCULLION
─────────────────────

— Songs Used —

"Mr. Moustafa" (GBH Score) - Alexandre Desplat
"Faded" - Red Licorice
"Concerto For Lute And Plucked Strings I. Moderato" - DZO Chamber Orchestra
Title Music From Satyajit Ray's film JALSAGHAR
"Canto At Gabelmeister's Peak" - Alexandre Desplat
"Fernando" - (as performed by Cher and Andy Garcia, originally by ABBA)
"Voluntary Hospital Escape" - Mark Mothersbaugh
"Who Can You Trust" - Spy OST
"Gun Buyers" - Mark Mothersbaugh
"The Lad with the Silver Button" - Mark Mothersbaugh
"The Heroic Weather Conditions Of The Universe, Part 4-6: Thunder" - Moonrise Kingdom Soundtrack
"Me and Julio Down by the Schoolyard" - Paul Simon
"Whiplash" - Hank Levy

Music by Artlist ►
Music by Artgrid ►
Music by Soundstripe ►
Music by MusicBed ►

—

SUBSCRIBE to StudioBinder’s YouTube channel! ►►

Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more.

Try StudioBinder for FREE today:

— Join us on Social Media! —

Instagram ►►
Facebook ►►
Twitter ►►