Grad filters, Tony Scott

[Dominik Bauch]

When shooting anamorphic, are vertical grad filters or standard horizontal ones best to use? 
 

Does anyone know what grad filters Jeffrey Kimball used on Tony Scott movies (Top Gun, Beverly Hills Cop 2)? 
I’ve seen a thread here where Claudio Miranda says Sunset filters were a go to for Scott on later movies but which manufacturer? Lee and Tiffen’s are very different...
Back in the 80s what manufacturers made grad filters? 

[Satsuki Murashige]

Due to the wider field of view with anamorphic, I think you would want horizontal 4x5.65 at least, or 6.6x6.6 for the wider/larger front lenses.

[Satsuki Murashige]

A lot of sunset grads were custom made for individual DPs back in those days. And a lot of DPs had a huge box of 6.6x6.6 filters.

Nowadays, I would suggest trying Coral, Chocolate, Maui Brown, and Antique Suede grads from Tiffen and Schneider Optics to get a similar look. 

[Dominik Bauch]

Thanks, I'll take a look at those. 

I guess 6x6 is the way to go, 4x5.65 horizontal doesn't give much room to repo vertically but who outside a big rental house can carry 2 matte boxes...

I wish there was more behind the scenes details for those Tony Scott movies, it's such a great look. Cinematography today is getting too clean and perfect. 

[Gregory Irwin]

4 hours ago, Satsuki Murashige said:

A lot of sunset grads were custom made for individual DPs back in those days. And a lot of DPs had a huge box of 6.6x6.6 filters.

Nowadays, I would suggest trying Coral, Chocolate, Maui Brown, and Antique Suede grads from Tiffen and Schneider Optics to get a similar look. 

I was Jeffrey Kimball’s First AC on many shows. He had 3 large cases of filters of every kind. As for the grads, he owned all 6x6 filters. Sunset, various colored grads, and many that Sat mentioned above. We ACs we’re always in filter hell with him. But I absolutely love the man. Jeffrey is pretty much retired now but had a rich, visual style that was all his own. He’s a real gentleman. 
 

G

[Satsuki Murashige]

9 hours ago, Dominik Bauch said:

Thanks, I'll take a look at those. 

I guess 6x6 is the way to go, 4x5.65 horizontal doesn't give much room to repo vertically but who outside a big rental house can carry 2 matte boxes...

I wish there was more behind the scenes details for those Tony Scott movies, it's such a great look. Cinematography today is getting too clean and perfect. 

Very true - ‘Revenge’, ‘True Romance’, ‘Crimson Tide’ (Dariusz Wolski) - beautiful looking movies.

Two matte boxes - well, I guess at least you can afford the anamorphic lenses! Times have certainly changed in that regard. Just a few years ago, smaller rental houses couldn’t get a set of Hawks even if they had the money to pay for them.

[Dominik Bauch]

8 hours ago, Gregory Irwin said:

I was Jeffrey Kimball’s First AC on many shows. He had 3 large cases of filters of every kind. As for the grads, he owned all 6x6 filters. Sunset, various colored grads, and many that Sat mentioned above. We ACs we’re always in filter hell with him. But I absolutely love the man. Jeffrey is pretty much retired now but had a rich, visual style that was all his own. He’s a real gentleman. 
 

G

Wow, what an amazing experience. Thanks for the insight. 
Definitely a lost art form, people rely too much on post / power windows these days. Nothing like shooting film and throwing a baked in color grad filter on top.... nerves of steel!

[Stephen Sanchez]

I thought it was tiffen filters, but Ira doesn't specifically state the manufacture of the Top Gun grads.