'The Queen' might be better than good.
Beato knows his shit. This is what we need more of. Not a bunch of nonsense, straight shooting, especially when dealing with subjects such as royalty, where it's enough that we're sitting there looking up at them already. No need to doll it up any more.
He's a bit heavy on the dolly moves, but I think that's just a product of having the money. Dolly grip does a fine job.
The crane shots are a different story, especially the final shot over the fountain at Balmor. It starts off shaking and ends up canted in the frame. What?
The story is serviceable, in a year like this, that might mean that it gets best picture. It's about an old lady who thinks you have to behave the old way, then her peeps want her dead, and she realizes she has to act differently. Fortunately, there's Tony Blair to guide her.
It's a great lighting and camera style. The editing is spot on as well. There's a scene where the Queen falls in love with an elk, their eyes meet across the glen, blah, blah, blah. But, the two were never in the same frame. You think the deer looked like it was caught in the headlights? Helen, looking in love, in awe, she hears voices and then it's fear! Oscars galore.
It's big sources from the outside, and then lots of small units bouned in the corners to give big warm wraps around the faces.
One thing I appreciated was the simple television lighting gag. So often, someone is looking at the tv and it's all flash off, flash on, blue, red, green. No, that's not how it is. It's fucking simple. Two lights, maybe three, flood two, spot on, dim one of the three all the time, shoot it throw a frame of opal diffusion.
Or 2 foot four bank kino and flip the select ballast.
Oh, apparently theres a guy in the window of the Range Rover when Helen gets stuck in the river- a gaff. I didn't see it in the small screen here at home.
He's a bit heavy on the dolly moves, but I think that's just a product of having the money. Dolly grip does a fine job.
The crane shots are a different story, especially the final shot over the fountain at Balmor. It starts off shaking and ends up canted in the frame. What?
The story is serviceable, in a year like this, that might mean that it gets best picture. It's about an old lady who thinks you have to behave the old way, then her peeps want her dead, and she realizes she has to act differently. Fortunately, there's Tony Blair to guide her.
It's a great lighting and camera style. The editing is spot on as well. There's a scene where the Queen falls in love with an elk, their eyes meet across the glen, blah, blah, blah. But, the two were never in the same frame. You think the deer looked like it was caught in the headlights? Helen, looking in love, in awe, she hears voices and then it's fear! Oscars galore.
It's big sources from the outside, and then lots of small units bouned in the corners to give big warm wraps around the faces.
One thing I appreciated was the simple television lighting gag. So often, someone is looking at the tv and it's all flash off, flash on, blue, red, green. No, that's not how it is. It's fucking simple. Two lights, maybe three, flood two, spot on, dim one of the three all the time, shoot it throw a frame of opal diffusion.
Or 2 foot four bank kino and flip the select ballast.
Oh, apparently theres a guy in the window of the Range Rover when Helen gets stuck in the river- a gaff. I didn't see it in the small screen here at home.
