So that was a massive, massive help for me because I could anchor all my ideas into that reality. So they already started, not just started, but they were in the middle of these very, very big decisions and conversations about what the world of Foe is going to be and what is the reality of this world.īy the time I got to join them, there were a lot of things that were not just decided, but already designed and really materialized.

But I'm curious what the pre-production process looked like when you were talking with Garth and starting to make those really hard decisions that would kind of lock the visual aspect of the story into place.Įrdély: When I signed on, we already had Patrice Vermette, an amazing production designer working with Garth for several weeks or even months. NFS: I think sometimes a lot of beginner DPs forget that you're in service of the director's vision rather than putting your own skills on display constantly. Some of these ideas are still in motion, and that's totally fine.

We really need to give the directors the time and the space to formulate their ideas because sometimes these ideas are not even fully cooked. So I think our job as cinematographers, we need to listen, and I think we really have to be good at listening. Then, talking with the director, I realized that my ideas were the opposite of what the director wanted. Then, listening and understanding those ideas will then trigger my ideas, trigger me coming up with references and questions, and all the conversation starts then.īut I used to make that mistake when I was starting out when I read something, and then I immediately came up with these very elaborate ideas. I really want to listen to what the director has to say about his ideas and his approach. So before talking with a director, I'm very cautious about coming up with ideas.

A script is, you can read it, you can imagine a film based on that script, but the script does not tell you a lot about what that film is really. I try not to come up with ideas at that point because I feel that a script is a very tricky thing. NFS: When you were first reading this script, how did you see this world? What were some of the notes you made while you were reading it, of lighting visuals or challenges that you knew were going to come up?Įrdély: When I read the script for the first couple of times before I talk with the director, I try to really focus on the story and the story only, and the emotionality of the story mainly. Mátyás Erdély sat down with No Film School on Zoom to discuss working in the dead forest in a practical location, his camera and lens package used to create the stunning naturalism in camera, and the one that he believes all cinematographers should know how to do. The results are quietly beautiful as elements of the sci-fi genre slowly start to tear away the naturalism of farm life in Foe. People are relocating off the Earth to find new life while life on Earth suffocates those who remain.Ĭinematographer Mátyás Erdély, known for his work on Son of Saul and Sunset, was tasked with creating a stunning yet desolate world that isolated the cast once he joined the crew late in post-production. Based on the novel of the same name written by Iain Ried, the story is set in 2065 in a desolate world starving for rain. However, Garth Davis's Foe balances delicately rural drama and sci-fi worlds, creating a stellar cinematic vision that explores a relationship in turmoil by the request of a stranger. From the bloody reds of horror to the moody dark interiors of dramas, each genre has a distinct visual look that says, 'This is what you're watching.'

There are some visual indicators that movie watchers tend to notice to signify what genre they are watching. Sound good? Then head on over to Filmmakers Manual and download the free glitch transitions today! So, how do you get them? All you'll need is to give Filmmakers Manual your email address and they'll send you a download link. I think this is the biggest free transition pack that I have seen.įilmmakers Manual has included project files for a wide range of resolutions: They also cover all the resolutions you can imagine. This means you can test which you think works best for your project without much hassle. The best part is, Filmmakers Manual's free transitions are as simple as dragging and dropping into your Premiere Pro project. Obviously, we jumped at the chance to bring it to you. Well, you're in luck because you can get a whopping 230 glitch transitions for free from Filmmakers Manual. If you're stuck inside editing, you might be blowing through your assets pretty quickly, getting bored of the ones you have, and are in need of some fresh ones to include in your projects.

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