Hitch

[Guest fstop]

I saw a trailer for this and it really just absolutely hit me in the face how low-contrast and hazy this film looks- VERY pretty! Low-cons and perhaps even pulling the film?

 

The very milky blacks and general lack of contrast seemed curiously, almost annoyingly rich and even enchanting! David (Mullen) has always cited Dunn as one of the last of the great diffusion cameramen and this is really pushing the envelope!

 

In a time when being gritty and high contrast to the point of crushed black stylisation is in, this stuff just looks SO much more refreshing. Maybe it's because as an aspiring cinematographer I hawk at the imagery, but I found the texture very intrusive- but in a good way: "come and watch a film in a genre not heavily associated with eye popping visuals!"

 

I'd love to hear others opinions and insights!

 

Cheers

[David Mullen ASC]

Hollywood comedies aren't so much my cup of tea as a filmgoer, but from looking at the trailer, it looks like Dunn did what he was hired to do, make the cast look good.

 

I like his work -- he's probably the closest thing we've got today to a Geoffrey Unsworth -- but I wish (and maybe he does to) that he'd do less of these brightly-lit romantic comedies (a whole slew lately) and more period work like "The Crucible" and "Madness of King George."

[Guest fstop]

I'm not sure- this Hitch stuff looked REALLY unique- shows there IS a way to make diffused low contrast look eye-popping!

 

Dunn's best work is still his understated and grainy 16mm photography of the landmark apocalyptic BBC miniseries THREADS from 1984. I can't believe the talent who made a nuclear winter look so depressingly bleak ended up lensing The Bodyguard.