Mark Herzig

Harris Savides.

Shane: I assisted Harris a few times in the late '80s, early '90s. Mostly music videos. He is my favorite living cinematographer. He was also one of the nicest people I've ever worked around. I got to hook with him recently on the set of "Milk", and he's still a good guy.

It was covered in the July 1976 issue of "American Cinematographer". Mainly what is discussed, besides the use of the Steadicam, is the use of large parachute silks over locations to soften the light, and the alternating use of filters like Low Cons and Fogs, plus smoke or dust on sets. It was shot on 5254 100 ASA Kodak color negative. There is some discussion in the interview book "Masters of Light" as well, where Wexler says most of the movie was flashed as well.

I met Mr Wexler a couple of times, but didn't ask anything technical of him. HW also notes that the standby painter was kept busy "touching down" any color on the set considered too vivid for the strategy. "Bound For Glory", in my opinion, richly deserves the plaudits it has earned.

HW was, and is, a great stylist, and a fervent supporter of mixing soft light and hard light, to taste. In my experience, going "all soft" or "all hard" is . . . well, an exercise in futility, and . . . an exercise.

I don't think there are any generic solutions for visual problems. Me? I use my eyes.

Interesting 52min doc' on Doyle: Christopher Doyle Orientations

 

Apart of his work with WKW, movies he shot like Going Home, Last Life in the Universe, Invisible Waves,... are also absolutely superb.

Olivier: The clip you referenced looks intriguing. Unfortunately, factualtv.com insists on me having both a non-Mac computer and a rubbish browser.

All: Doyle is a great cinematographer. Go shoot something.