Parasite: Cinematography Of A Modern Classic

[@InDepthCine]

I've always been a huge fan of Bong Joon-Ho (if you haven't seen Memories of Murder you should, it's incredible) so it was fun putting this video together. If you haven't seen Parasite I recommend you watch it before viewing this, as there may be minor spoilers in the video. I'd love to hear your thoughts on the film, the cinematography or the work of Bong Joon-Ho in the comments. Hope you enjoy the video!

[@MrFakNo]

I wouldn't classified it as a classic.

[@aa_gg]

I noticed that - A visual vertical line is always present in the frame throughout the movie, this line separates the rich and the poor family .... This line may be a wall, glass or simply door of refrigerator... *When you look for the line it become more visible and the separation between two families hits hard*

[@CajaEBelmont]

Parasite is such an excellent film! I agree is a contemporary classic; all korean films i've seen are excellent. The cinematography in this one i so minimalist and effective in getting in you into the history by recreating this natural environments, i didn't pay attention on how they were creating the depth with the color temperature. The work of Park Chan-wook with Chung Chung-hoon is worthy of study.

[@InDepthCine]

Definitely a minimalist style, good description. I think that by not doing too much it helps serve the story.

[@peterparker-gx5nf]

Brilliant and inspirational analysis as always. I would be so thrilled to see the breakdown of 1917, La La Land and Inception! Thank you~

[@CA-rg2wv]

I’ll breakdown 1917 for you. Long takes = good duhhhhh

[@mjolninja9358]

@@CA-rg2wv D E F G H I J K L M N O P Q R S T U V W X Y & Z

[@kojichua1940]

I could never put a finger on the cinematrography style until you you mentioned "theatricality" and "being on a stage". Made so much sense ... Thanks for creating these videos!

[@TChristopher]

I love these breakdowns! The naturalism of this film is a great contrast to what seems like a fable-like story, especially looking at the cinematography of it. Thank you for breaking it down!

[@InDepthCine]

'Fable-like' is a good way of talking about the film. I think a lot of his films have that quality.

[@FilmGeeker]

I just love how Bong Joon Ho doesn’t shoot coverage and yet it’s still a masterpiece. As a filmmaker I hate coverages

[@orpheus2]

I m surprised that it's available for free you going to help a lot of budding cinematographers man,subbed❤️

[@MidNight91000]

I love that I keep discovering even more details and layers to this film, amazing! I just discovered your channel and just binged most of your videos (and counting), keep them going!! You're doing a brilliant job

[@Michael-cv5wk]

I'd love to see you talk about a Michael Haneke film! I think his most masterful works when it comes to cinematography, blocking, movement, etc. are The White Ribbon and Happy End. He's fantastic at using movement to create a very subtle "dollhouse" effect.

[@InDepthCine]

Good suggestion! He's definitely the master of subtlety.

[@Artfulscience1]

I feel this is a very eastern way of story telling-it reminds me a lot of Ghibli. There is more of an indifference, a pleasant inconclusiveness, not telling you what to think. Like in Spirited Away, there was so much left unresolved, but that’s life. It’s a very naturalistic way. Western cinema is great but it’s much more...explicit so to speak. Eastern feels more implicit

[@hounamao7140]

European movies also have this subtility, especially scandinavian ones. I think it's very american to have a good and bad guy with a clear hero.

[@alexmassy]

Wouha your analysis are amazing. Greatly detailed. Thank you.

[@VicLabs]

You're the new Every Frame a Painting. Thank you for what you do.

[@tylerfukuda]

Awesome content as always. Thank you!

[@InDepthCine]

Thanks Tyler

[@JM-fu6vy]

I love how technical and in depth this channel is!

[@padgie]

This is really well made and thought of, deserves way more views!

[@LE672AJ]

One of the best shot films I’ve seen in a while. Glad I got to see it during the initial limited-screening before it went wide and the trend watchers showed up.

[@midhunpatel]

Great job 👍

[@jv8studios]

Awesome! What was your favourite scene?

[@talhamajeed3220]

thankyou buddy, helped me with my film and tv final.

[@cinema1724]

This channel deserves more attention, views, support amazing video

[@grindiogourmet3565]

This channel is unforgivably under watched, wow man just discovered you so happy I did. These videos are phenomenal. Thank you so much.

[@freesoju]

Love this series and this channel. and this film

[@jv8studios]

Awesome! What was your favourite scene ?

[@beluga8595]

@@jv8studios my favorite scene was...the lady saying "do it clockwise!"

[@princessthyemis]

This is SO well researched! Wow your effort and the filmmakers blows my mind! Now I REALLY want to watch this film again. It's brilliant!!!

[@YOUAREMYKIN]

This is so good! Thank you for making this

[@raphaelgehlhar3268]

Beautiful analisis thanks for the great vid

[@iamnoimpact]

I never thought about it being presented like an analog theater before. But certainly, so many shots are making you overtly aware that you are WATCHING something, whereas other films try to take the "bring you along" approach. Many scenes here are almost telling you: "Watch this" as opposed to immersing you into the action of it. -- I also like what you said about BJH 'starting a conversation' instead of 'making a statement'.

[@alexandre_berquin]

Thank you for your amazing work

[@loganwelty7094]

Excellent video! Such a brilliant film

[@richardsilva-spokane3436]

Excellent presentation and information 👍👍👍👍👍👍

[@tabeabussmann]

When I watched it back then I didnt know ao much ab cinematography I just felt that the movie has something in it. And know that I know about it it all makes sense. Nice video!

[@AriHajek]

Thank you for making this video! Outstanding work.

[@NickWillMakeIt]

The colors in this film are immaculate

[@imdrum6881]

What I love most about this film is how most closeups are shooted from a straight-on, eye level perspective, as you mentioned as well. We don't get to see any characters from a steeple angle, nor do they seem intimidating on screen due solely to the camera. Although of course frame scenes such as the flood in the Kim's house are shooted from a slightly upper perspective, ut almost seems like it's shooting from where they need to be to stay "safe". I have not seen any condescending shots in this film, and that's something very strange, yet reassuring, in a film in a context of heavy inequality.

[@vishokkalathil865]

Thank you so much for all the videos you are posting. Its very much helpfull even film school wont provide lessons luke this. If you have any blog please tell us.

[@Killernaut16]

These are the types of videos I need

[@maxim.horoshilov]

Great analysis! The cinematography work was done really superb in this movies, and I was highly surprised when you revealed VFX part! Learnt a lot, thank you. ✌️

[@chiragsingh371]

Amazing work, keep it up.

[@abdullahgul7058]

youre an amazing person.thanks for all your videos

[@felipejulian]

amazing content thanks

[@sandeepmates]

Excellent analysis..Thanks

[@PupilPriority]

I'm a new fan of this channel and I'm fascinated by your work! Thanks!!!

[@rbsnmrjn]

Thankyou, my cinematography guru. Love from NEPAL!

[@andream5310]

The diffrent layers made of different lighting warmth reminded me of Eyes Wide Shut cinematography, where there are many scenes with the same alternance cool/warm light within the same shot. Also the symmetry and the proscenium effect of sone shots looks similar.

[@manifi5391]

"No-Way-Home" & "1917" would be awesome :) Thanks for all the Videos !!!

[@RollingExistence]

Kind of ridiculous you've only got 7k views on this video, it's an awesome breakdown. Well done.

[@simoneparodi8512]

I love your work!!! Could you brake down “memories of a murderer” (2003). I would love to know more about it. 🙌🙌

[@jv8studios]

Cool ! Where can I watch this film ?

[@rahuldev642]

Truly amazing ♥️♥️

[@karthickfotography]

Thank you

[@emberN]

i do not agree with everything but it's a well put breakdown. good job!

[@ri8984]

dié is my gunsteling fliek van die jaar!

[@adamethancrow]

Thank you so much.

[@ChanCongMinh]

great, thank so much

[@Luckydidthis]

Beautiful

[@ouajbir]

Enjoyed your breakdown as much as I enjoyed the movie. Thank you

[@jv8studios]

The movie and the breakdown are great ! What was your favourite scene ?

[@buddyvillaruel]

Awesome!

[@aight365]

Hey man! This is definitely one if not my favorite movie ever made.. I mean it! and your explanation about the making of it is phenomenal! Always nice to hear you're insight! Question; l if I were to shoot with a full frame 35mm sensor.. What would be the closest equivalent focal length I could use to get as close as possible wide perspective to what Ho used with large format? Is the equivalent 0.7 ? And how would I calculate for shooting with for example a Fujifilm GFX medium format camera? Thank you!

[@InDepthCine]

He uses various focal length lenses throughout the film, but generally he likes to use wider lenses that aren't wide enough to distort. If I were to guess I'd say that he shot a lot of the wide/medium shots at between 35mm-60mm. So a 35mm (for wides) and a 50mm prime (for medium/close ups) on a full frame sensor would probably get you in the ballpark. Thanks for watching!

[@timothywiley6334]

YES

[@reustudio2868]

Amazing!

[@michael_viteritti]

Loved this movie, very well done =)

[@nevbezaire]

Great breakdown of the cinematography but I can't imagine anyone calling Bong Joon-ho's films "subtle" with a straight face. Was that tongue in cheek?

[@nick_g]

This movie is brilliant

[@friend5625]

NICE

[@vitorgenio]

Nice

[@ed-od9sd]

the voice is convincing

[@pedrocarzolio]

Hey! Great video! Thanks for sharing. I only wanna mention something that annoyed me a little. In the 03:24 you put a quote from the cinematographer which without the context seems inaccurate, because nobody could get impressed by a field of view... you can achieve all the fields of view with all the cameras around. The only limitation will come when you want to match the depth of field, and then the large format let you to get a shallower depth of field than any other sensor size, and sometimes you cannot achieve this equivalent with other sensor and lens combination for a matter of physics. But here Hong Kyung-Pyo highlights the deep depth of field... this not make any sense, the deep depth of field is achivable with any sensor and lens combination. The perspective is only afected by the distance of the sensor to the subject. The sensor of the arri LF is slightly larger than full frame, so If you use a super 35 sensor you only have to calculate the crop factor in order to know wich lens you nees to use to achieve the same field of view. And if you are after a deep depth of field you can achieve this by making the same compensation for the f-stop, the size of the entrance pupil to be precise. I don´t like to see this minsconseption because I think that former cinematographers could get confused and lose the ability to discriminate that the most important aspect is the distance to your subject. If you are close to the subject you get a particular perspective, the field of view will be afected by the focal lenght of your lens, but you can put a wider one in smaller sensor and get the exact same perspective. Please! This is very very important to understand!

[@devbasu2133]

But if we use a wide angle lens on a small sensor, and place the camera closer to the subject,won't there be any vertical distortion of the face of the characters on the screen? Just curious to know about it.Please enlighten.

[@luminoirfilms]

I believe what the cinematographer meant when he said he was impressed by the FOV of the ARRI65 was because he could capture a wide enough FOV with a longer/normal focal length, instead of having to resort to wider (or ultrawide) lenses which he'd have to if he chose smaller formats. This means the filmmakers then don't have to deal with any optical distortion (barrel) that frequently accompanies wide lenses. If their goal were for the cinematography to be as naturalisitic/ minimalist/ least distracting as possible, then the ability to avoid optical distortion would definitely be very much valued.

[@pedrocarzolio]

@@devbasu2133 hey Dev! The key here is changing the lens but only to match the angle of view without moving the camera. If you move the camera you change perspective.

[@pedrocarzolio]

@@luminoirfilms thanks Derrick! I think that I understand your explanation but you let me with the desire to see a straight comparision in order to see and identify those barrel distortion in a real example... are you sure that the barrel distortion is diferent if you put the cameras in the same place and match the feild of view? I made some experiments with my panasonic S1 full frame switching to APS-C mode and I couldn't see the diference in optical distortion...

[@muhkuhdingsda]

You are absolutely right! I was also upset about the given explanation. You should check this out: kzbin.info/www/bejne/iKjKnIuZir1sbpY

[@carlosadriandeleon3439]

great!! i love this movie. You should do a cinematography review of Joker. That would be amazing

[@rithikn8710]

Would you do break down of inception

[@YVPRODUCTIONS]

SUPER SIR

[@KrishnachandranU]

❤️❤️❤️

[@FoodforThought12345678dsds]

Can you do this analysis for Movie 43?

[@ApiratKatprasat]

from thailand

[@kulkarniashok2475]

Dude please make a breakdown of "Jersey" (Telugu language) movie and cinematography,music break down of "Rangastalam"(Telugu language) movie

[@shoaibliaqat4180]

Great video,But the background music is too loud and distracting

[@surebullet1]

Can somebody explain to me the relation between sensor size and focal length of the lens? He said "normally when shooting with a 20° wide angle lens, objects in the background would be unnaturally far back" so how did the DNA lenses fix that but retain this very wide FOV? :)

[@muhkuhdingsda]

The explanation makes no sense. Focal length has no incluence on perspective. Check this out: kzbin.info/www/bejne/iKjKnIuZir1sbpY Only thing could be that the used primes have less distortion.

[@ChristianBKrantz]

Does anyone know where to watch Memories of Murder if you live in the US?

[@tompowellcoachingclimbing]

Eye opening. Parasite really stuck with me after I watched it, and I spent some time trying to understand why. Many of the points you made in this video have helped to open my eyes to how it creates such an impact.

[@SeanFisher]

Now, do Jacques Tati's Playtime.

[@luuketaylor]

엄청 잘 만들었다 박찬욱 감독님은 내 젤 좋아하는 한국 감독이지만 요즘 때문에 내가 봉준호 감독님도 그만큼 좋아한다 이 영상 잘 만들고 잘 분석했다고 생각한다! 이제 구독했다 ㅎㅎ

[@AnahatNaad]

I’m sad this video ended. I want to know do they seriously think this much about lighting and everything? Or it comes naturally to directors mind.

[@richardkrall4409]

whatever you want to say about this film is fine but, I forgot about it about 30 minutes after I saw it.

[@heisenbergII]

The fact that people bitched and moaned over the fact that this film won best picture don’t understand film at all

[@tim.van.emmerloot]

Wait, there's vfx?!

[@hiken888]

First ✌️

[@HA-oo5gs]

It’s only your imagination !

[@CloudEnglish]

great video, but what exactly is a 'fulm'?

[@manosalexakis]

kill the music. video super though

[@PredictableEnigma]

I would not call all of his movies subtle. (Snowpiercer doesn't know the meaning of the word) I would not call Parasite subtle either. There are a lot of subtleties in the film, but it still says what it is about loud and clear. Can't miss it.

[@DanielTuriman]

Thank you

[@DanielTuriman]

Thank you