Lubezki's Cinematography Techniques

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For a film to look pleasing in the eyes, you need to have a cinematographer who knows how to tell a story visually, not just by capturing moving images but also by making everything being shown on screen have its own impact in the audience's eyes.

I will be analysing my cinematography style on Emmanuel Lubezki aka Chivo, he has been an active cinematographer from 1983-present. Lubezki has been an active cinematographer and his Famous key collaborators are internationally famous directors’: Alfonso Cuaron, Terence Malick and Alejandro Gonzalez Iñárritu. He has consecutively won the Academy Award for Best Cinematography 3 years running with Gravity (2014), Birdman (2015) and The Revenant (2016). Other films he has DOP’ed include Sleepy Hollow
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For both of this, he mainly uses very diffused and soft lighting to create a huge source of fast fall off, this gives his actors a very flattering shadow less look and the backgrounds are most times darker by stop or more (see Fig.1) which he is able to achieve through the use of multiple flags, most times the key is a stop higher so that the face really stands out. The general effect is glamourous and it can be toned down which depends on the kind of mood he wants to establish and he works very skilful to make sure he reflects every emotion on the character's face and not just take a nice shot of the landscapes (Wolfcrow, 2016).

Not only does Lubezki prefer making use of the natural lighting for the naturalistic style of his work but his work is also base on practicality which we can see in one of his movie "Birdman", he had to make use of some practical light sources (see Fig.2&3). In the movie "A Series of Unfortunate Events", he made use of a lot of shadow and silhouette to reflect to the audience the dark undertones of the film (see Fig.4) and also in the movie Children of men, he used dark colourless wash over to achieve the same effect (Jenelle,
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He also makes use of wide angles a lot and he really is not scared to make use of a 12mm lens on the Arri Alexa which equates to about 17mm on a full frame DSLR (Wolfcrow, 2016). He can easily achieve a proximity to the challenge and especially in the movie THE REVENANT, an intense focus on the actor’s eyes with the use of extreme wide (see Fig. 7) or you can see from a stellar body of work we can adapt his lens use to the director style so it will be a mistake to assume he only uses wide angle lenses or a deep frame. He is able to treat the audience to glittering gems of camera shots, from diluted sunlight on snow-covered mountains to sunsets bursting with colour and fir trees dripping with icicles (Renee,

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