Joseph Cocklin

Hello and apologies if I'm posting in the wrong forum, I'm quite new and wasn't sure as to the best place for this. I'm currently writing a short based on a Foley artist and the film he is sounding. As his world (studio) is disrupted with an argument with his spouse I want the sounds that are created to interfere with the reality of the film he is working on. I am trying to come up with sounds in the the Foley's world that could be interpreted (and appear pictorially) as something else in the world of his film. Thanks very much and again sorry if this is the wrong place to be asking. Joe

Thanks very much :)trying to track that AC article now. Perhaps from your own or anyone's knowledge, in the first picture I attached, and in this one from Chunking Express could you tell me how there is a surrounding blue tone, but a 'correct' white on the woman's skin: could it be tungsten film and mercury vapour lights in the building with tungsten lighting the lady. or daylight film with a blue 80 filter and the same lighting. I ask as a student and apologise if I seem naive. One reason I ask is I am very interested in the methods to isolate a 'correctly' coloured protagonist surrounded by a swathe of emotive colour. thanks again http://i2.ytimg.com/vi/IAH-0GKvIrM/hqdefault.jpg

Yeah the past few weeks since I picked up a Wong Kar Wai boxset I've devoted myself to studying him; I usually argue against over reading of the techniques of artists should you end up being a carbon copy but I think his techniques and manner of working are a very good thing to learn and always a hoot to hear him talk or work. Thanks for the cross processing knowledge. I imagine he used it in the attached image but I am struggling to understand how the colours of the girl on the right are so maintained and punch out of the blue Also any interesting links you know regarding his technique - I'm particularly interested in his nature of lighting set-ups, as his modesty of 'existing light' leaves me thinking how, when I know there is some real poetic light construct here. Do overhead softs occur so often in china? - or stories that cant be found through the usual trawling through google would be great. I've tried to find both 'In the Mood for Doyle' and 'Stirred Not Shaken' as I've heard mention of them but they don't seem to exist within my search capacity. Thanks again :)

Thanks very much :)

Hello there; since recently seeing In The Mood For Love, and revising again and again Chunking Express I have fallen in love with Chris Doyle's colours, as have many of us. And though there is much inspiration and idealism to be gleaned from his words in interviews he seems adamant on not disclosing any of his technique. I frequently see mention of his 'innovative use of filters', having so many as 5 on the camera at one time, yet I can in no way decipher (as still a learning student) how he uses these, and if they be colour filters how does he maintain skin tone selectively? To me his colours looks to be the work of processing but all reading suggests filter use. Also as a side note, does anybody know how much he works with existing practicals in his films or if he has the foresight to have them installed. Thankyou