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Hyun De Grande

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About Hyun De Grande

  • Birthday 01/17/1987

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    Brussels, Belgium
  • Specialties
    Narrative Short Films

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  1. The light of a Fresnel has the sharpest edges, and the most even beam-spread. So the quality of the light is very good, and can be used to light directly at an object/actor. You can control the beam from spot to flood. A PAR (parabolic aluminized reflector) has lesser light quality (the shadow patterns are not as sharp for example) but they usually generate more output for the same wattage. So for example, a 4K Arrisun (= PAR) should have more light output than a 4K Fresnel HMI. Because the quality of the light is poorer, they're normally used through diffusers. An open face is created purely for its output, and has the poorest light quality of the tree. They're generally used with bounces or also through diffusers. A redhead is an example of an open face armature.
  2. To say that cinematographers aren't storytellers (of any kind) is a little bit far-fetched in my opinion. Obviously, their work has to serve the vision of the director (or the story for that matter), as do al the creative crafts that contribute to the process of moviemaking. (A musician isn't also just a person who would solely play the notes that have been given to him or her). It always begins with what has to be told, be it a classic linear narrative or something more experimental. But, in any case cinematography is more than just translating technically what the director wants. There's obviously also a creative side to the job. I can't image that a director would give his or her DP a shotlist with an explanation of the exact framing, choice of lens, specific camera movements, lighting diagrams, color usage, etc, for each shot in the movie, and that the only thing a DP has to do is to simply follow these notes. Off course, there are directors who will have some notion of how some shots should be filmed, but even then there will probably still going to be a discussion of some sort between the director and the DP. So it's a constant interactive creative process. Therefore, a cinematographer is creatively part of the storytelling, and thus he becomes a storyteller in his own way.
  3. To name a few: 2046 (cinematography by: Christopher Doyle) The visuals from this film are so unique in it's use of colors and lighting. Very unearthly visuals that stun me every time I watch it. Also, the framing is so meticulously work out in every shot. Hypnotizing movie throughout. Il Conformista (cinematography by: Vittorio Storaro) Great in every aspect of cinematography. The way Vittorio plays with his lighting is a pleasure not only to the eye, but also to the mind. Grandeur, yet simple and pure. Every frame could be a painting. Vozvrashchenie (The Return) (cinematography by: Mikhail Krichman) Very thoughtful filmmaking, portrayed in every frame. The images can grab you by your throat, until the end of the movie. Simple, pure and unsettling. The Tree of Life (cinematography by: Emmanuel Lubezki) Purely poetic in every aspect. Especially because of the way how the camera moves, in combination with a very naturalistic approach of lighting. I find this film to feel very 'naked' somehow, and at the same time creating a transcendental mood, as if the whole film is weightless. The Cook, The Thief, His Wife and Her Lover (cinematography by: Sacha Vierny) Rich and unique way of using color. Somewhat theatrical approach in terms of camera placement (and set decorations), which remind me of baroque paintings. But this movie also feels more like a moving painting than a movie, in my opinion. La Double Vie de Véronique (cinematography by: Slawomir Idziak) Romantic portrayal of an otherwise soberly told story. The cinematography gives this movie a very expressive moody and dreamy tonality without becoming too distracting. Beautiful combinations of blue, green and yellow, of which I personally think it succeeded more than in Amélie Poulain. The Godfather Trilogy (cinematography by: Gordon Willis) Somehow also the godfather of the claire-obscure photography in movies. Largely set the tone on a greater scale for the use of warm overhead lighting, and dark, brown-orange color schemes. Enter The Void (cinematography by: Benoit Debie) Daring and unique use of colors and camera-movement to say the least, and should be mentioned here just because of its original approach in visual storytelling. Wether this is your cup of tea or not, the images succeed in evoking an certain unease and dizziness, that are essential in telling this story, mainly told through the point of view from our main charachter. Taxidermia (cinematography by: Gergely Poharnok) Absurdity, comedy and surrealism combined. Nice use of wide-angles lenses and some original camera-tricks. Weird, yes. Visually fascinating, absolutely. The Turin Horse (cinematography by: Fred Kelemen) One of the most beautifully photographed black & white films in my taste, reminiscent of the photojournalism from the early 20th century. Very minimalistic, yet stylized and narratively strong imagery. Also very mesmerizing because of the use of long-takes (this film contains only 30 shots). This effect results in you, the viewer, getting grasped into the movie both visually and subconsciously. It takes you into a deeper layer of the film, which is of course the essence of storytelling.
  4. https://vimeo.com/59217562 Footage from various shorts I've done in the past 2 years. Camera's used: Arri Alexa, Phantom Flex, RED Epic, RED M-X, RED One, Ikonoskop A-Cam DII, Canon C300, ...
  5. https://vimeo.com/59217562 Footage from various shorts I've done in the past 2 years. Camera's used: Arri Alexa, Phantom Flex, RED Epic, RED M-X, RED One, Ikonoskop A-Cam DII, Canon C300, ...
  6. Apart from the camera jerk and the technicalities, I think the movement of the shot started very interesting. The crossing with the woman, and changing direction was nice for example. But you lost me at 0:30, when the bottle is put on the table. From there on, I felt the shot was failing to serve a narrative point. I didn't know what to look at. For me, there wasn't any guidance anymore. This feeling was enhanced by your lighting. It didn't guide my eyes enough to the things I should look at. So a+b made it lack some functionality in my opinion. So I think you should have played a little more with your lighting, and accentuate the things you want your audience to look at, especially in a shot like this. And you could have other people guiding the camera movement from 0:30 on..
  7. Or, you can cross-light it. The light beneath the right upper berth pointing at the left lower part and vice versa. Should create more depth, look more pleasing, and feel more natural. I would also use diffusion either way.
  8. Mini flo's maybe? They operate at 12V, and are very compact. You could mount them beneath the upper berths so they light up the down part. They generate a fair amount of light for their small size. You can use them with 3200K or 5500K tubes. Using the 5500K and adding some +green can get you in the same color range as the TL's that are already there. You could also do it with battery powered LEDs to completely avoid cables, but they are more expensive. Kino's could work too, but since they're larger you'll have a harder time rigging them, and you'll also have to deal with cabling.
  9. There isn't one right technique, because in my book cinematography isn't based on rules but based on emotions. Nonetheless, I can assume that soft lighting and low contrast can have something to do with it.
  10. Depends on what you want to be, but I'm guessing: keep doing interims until you get offered a real contract. Sounds logical, but I don't think it's any more complicated than that. Or try and do as many projects as you can yourself, wether it be as a director, or a DP, or an editor. You said you went to a film school, which means you have one big advantage over people who didn't: you already know people who are also into filmmaking. Use that. Work together, and make projects together. Another big advantage of this is that no one will tell you what to do. You'll have unlimited freedom, which can be one the most powerful tools in improving your creativity. Also, making contacts is one thing, maintaining them is another. Good luck!
  11. I live in Belgium Europe, and it's definitely the case here too. I don't think it's geographical thing. And as long as there are people that do sign up for similar free work, I don't think it'll change. Why would they? I also work for free from time to time, but that is mainly for friends and fellow ex-students who simply can't pay the bills of a crew on their set. As long as I can put my heart into a project, and as long as I myself can financially make that happen, then I will do it. If I can gain experience by doing something that I love, and if there's a mutual respect, why not? But I do dislike production companies (who do have the cash to pay their crew properly) who put on as many interims as they can, making them work for 15 straight hours a day, giving them proper full-responsible jobs, for a wage of no less then €50/day. I've seen it happen lots of times.
  12. In overall, I liked it. I see you have a nose for framing and creating atmosphere. I'm also curious if you added lots of artificial light? As for the reel itself: I would cut it shorter. My opinion is that reels shouldn't really last longer then 3 minutes, especially if the images are all from the same project....
  13. All a matter of taste really but I thought you went a bit too far with it, especially with the second shot. And I'm not really talking style, I'm talking technique. I don't like the transitions between the highlights and the mids on her skintone. It seems you have flatten the image by adding too much contrast on her. The first one is better, because you did preserve the details in her skintone. Just my opinion..
  14. I don't know what the intended mood for the film is, but if the camera can manage it I wouldn't add too much artificial light. You already have 2 types of light sources at your disposal. Street lamps and car lights. Use them to the highest extent, especially if it's low budget. It can create a dark and moody atmosphere, whereas filling it up with a big moonlight can flatten the image rapidly (if done wrong). Adding lights outside, without having access to nearby buildings would mean renting a generator, and a fairly big light to simulate the moon. Both are rather expensive. But it all depends on the style of the picture...
  15. Spending time on set as a second or first AC won't necessarily lead you to become a DP, it will make you a good second or first AC... But, working on a set does make you understand what it's like working in the industry. It gives you insights, you get a closer look at the camera's and how they're used, you can network, and you can watch how DP's approach their vision, etc. So I do highly recommend it! I have the same goal as you, and I started not too long ago. I also did some interims as a second AC, and I talked to some of the DP's about wanting to become a DP myself one day. What they said all came down to the same thing, which is: "If you want to become a DP, then try and film as many stuff for yourself. Step by step, starting on smaller projects and gradually climbing up. You'll make errors, out of which you'll learn. You'll create a style perhaps, you can experiment.. Because you're not going to learn it by solely looking how others do it. It merely gives you insight."
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