2 posts tagged “dolly shot”
I don't think I'm going to say anything that hasn't been said about how good this movie is. It gets a little more graphic than I expected, but it doesn't take away from anything.
The camera work was very good, there's one shot that's soft to the point of noticeable - but fortunately it's during a good deal of cutting.
However, there is one thing that bothers me, and I see it enough to comment on it- the Sun is always one source. Meaning, light through a window is one source. Which means that the shafts of light through multiple windows should all align if they're on the same wall or facing the same direction.
In this case, it's a scene in a bathroom, and it's important. There's no reason why we should be distracted by overtly odd lighting. Shafts of light coming through three small windows behind the girl are going in all different directions. There's no reason for it. Don't do it. Especially in the 'reality' part of a fantasy/reality movie.
There was one bad start on a crane move, the aforementioned softness - it's a close-up of the girl as she steps out of her mother's bedroom late in the third act, and the stupid three-Sun bullshit in the bathroom.
Other than that, it's good, crushed-black film look. It's a little too dark at times, but it fits here. The special effects all work as they should.
This is probably the best movie not to miss this season on the big screen.
The camera work was very good, there's one shot that's soft to the point of noticeable - but fortunately it's during a good deal of cutting.
However, there is one thing that bothers me, and I see it enough to comment on it- the Sun is always one source. Meaning, light through a window is one source. Which means that the shafts of light through multiple windows should all align if they're on the same wall or facing the same direction.
In this case, it's a scene in a bathroom, and it's important. There's no reason why we should be distracted by overtly odd lighting. Shafts of light coming through three small windows behind the girl are going in all different directions. There's no reason for it. Don't do it. Especially in the 'reality' part of a fantasy/reality movie.
There was one bad start on a crane move, the aforementioned softness - it's a close-up of the girl as she steps out of her mother's bedroom late in the third act, and the stupid three-Sun bullshit in the bathroom.
Other than that, it's good, crushed-black film look. It's a little too dark at times, but it fits here. The special effects all work as they should.
This is probably the best movie not to miss this season on the big screen.
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.
