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Alex Lindblom

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  1. This brings up old memories and threads (old threads are painful, like Jon Snow you know nothing and you can’t spell, honestly I still can’t) I know because I started a thread in 2004 about the flatness of Stuck on You and Mystic River (really have to re-watch that one)This was before the digital revolution and the existence of Arri Master anamorphics and Angénieux Optimo anamorphics. So even if you can ascribe the “flatness” of John Wick 2 and Star Trek Beyond to the Arris and Optimos A2S and perhaps the digital capture, it doesn't really tell the whole story. You bring up Silence (
  2. Small correction it is -- 250 Mbits/sec ( 31.2MBytes/sec) NOT 250MBytes/sec according to the DCI specs: • For a frame rate of 24 FPS, a 2K distribution shall have a maximum of 1,302,083 bytes per frame (aggregate of all three color components including headers). Additionally, it shall have a maximum of 1,041,666 bytes per color component per frame including all relevant tile-part headers. • A 4K distribution shall have a maximum of 1,302,083 bytes per frame (aggregate of all three color components including headers). Additionally, the 2K portion of each f
  3. It’s true that cultural expression changes with geography and time. Just go to your local bar at noon or 12 hours later at night, very different forms of expression. But movies are not about culture, they are about “the human condition” (at least 99% of them) which haven’t changed since the birth of cinema. Peoples actions are basically driven by three things 1.Passion(procreation,hobbies,faith, self fulfillment/preservation…) 2.Power(money, status…) 3.Seemingly irrational acts (Zinedine Zidane world cup final head butt. Or writing over 1400 posts on a cinematography forum, when you don’t
  4. Footage from the Venice https://vimeo.com/261639898 VENICE en Cartagena de Indias. Colombia I have to say, I really like what I’m seeing, the footage reminds me of Samsara. Top marks indeed.
  5. This may deserve it's own thread but since it's clearly iPhone related... Paul Schrader holds a talk about how he recut and reshaped Dying of the light, and "re filmed" the footage from the monitor on an iPhone(he shows how -- about 33min in to the talk) because he didn't have access to the original material. The are pretty long scenes from both the new version -- Dark and Dying of the light, in the talk. And he shows the final scene of Dark so spoiler warning. https://www.youtube.com/watch?v=lcM8UU07cuY
  6. Stuart let's break this down... Well Danny Boyle famously called up Anthony Dod Mantle and said, I want to do something digtally, and that was 28 days later, a perfectly fine digital movie where the material marries to the story. But I basically agree with what you are saying about the top and the bottom, and the rest just simply trying to make a living in the middle and I have zero issues with that. Then we perhaps can agree to disagree because we seem to have completely different points of view here. What you call "not some esoteric notions of whether the medium dictates the qual
  7. No of course not, film is a business, the one who pays has the final say. I'm not harping on cinematographers here, the shift to digital is clearly a budgetary one (of course there are also times when it's an artistic one) and therefore on the producers table, if the decision is economic.
  8. What I'm trying to say is, we are making a big mistake if we treat the 35mm and Alexa frame, as one and the same. This is where the problem starts if you have a 35mm idea, but then for budget reason you are forced to go digital. And you don't adjust your idea to the digital frame, and just go ahead and pretend we are still shooting 35mm and keeping exactly to the original idea, then the film will fall apart because the captured frame is no longer in support of that original idea. Again two examples The Beguiled (2017) The Witch (2015) both 1.66 period pieces, basically chamber dramas, with
  9. David the comment's wasn't meant for you, I have nothing but the highest respect for you as a cinematographer and an educator. And I'm Extremely grateful for all the knowledge you have shared so generously trough the years.
  10. This very laissez-faire attitude (from some of you) to the frame on a cinematography forum is mind-boggling to me. The frame in relation to the next frame over time, that's what cinema is, that's all it is, that's all we have. And what I'm keep hearing is that the frame doesn't matter. It's the acting, the script, production design, lighting and on and on. And while it's true that the frame contains all of these aspects, none of it matters if the frame it self, isn't correct.(Now the frame can be either analog or digital, 8mm or 65mm but it has to be correct for it's intended purposes.)
  11. It's fine to critic things, but "It looks awful" brings nothing to the table, don't just bring down -- contribute. Saying that historical films can only use technology from it's time, is just silly. What about films, taking place before film was invented? And why is 2:1 aspect ratio more or less nonsense then any other aspect ratio? Interview with Tim Ives about season 1 and 2... http://deadline.com/2017/08/stranger-things-tim-ives-duffer-brothers-cinematography-emmys-interview-1202141889/ They shot Red Dragon on the first, Red Helium on the second.
  12. This discussion is getting quite silly. To Robin R Probyn, let me take some heat of Fatih's back here. Sure bashing for bashing sake is unnecessary, but the notion that you can't have your own point of view as filmmaker, is ridicules. That's the whole point of film making (that and making money of course, probably in reverse order.) Let say I want to shot a western, now since this is a film, not a book, or a stage-play -- it's a film, it needs to have a look, a tone, a vision if you so will. So in your mind you start with two polar opposite images The Searchers and The Revenant, and y
  13. Yes confirmation bias is a thing. But, I don't want to like a films more because they are shot on film. If anything is true, it is the exact opposite. Since most movies are shot on Alexa, I would of course prefer to sit trough movies I like. The same goes for capturing, not to be locked down to the cost and logistics of film. I truly wish the Alexa was a film replacement, but for me it's just not there yet. But where I think I have confirmation bias is towards the Genesis/F35 over film. I like enough movies shot on that system, that I can talk myself in to shooting on it, instead o
  14. But that's the crux of the matter isn't it? It clearly seems to affect the end product. Three examples: In Twin Peaks The Return, Lynch and the great Peter Deming, reprises the scene from the red room where Laura Palmer whispers in Cooper's ear. And if you compare it to the original, the difference is night and day, even though Kyle MacLachlan's old man make up isn't the best, you are there, the red room is a place. While in the new version, the red room simply feels like a fake set. The difference is stark. The Poltergeist remake. Sure there is a slight shift in the script but it
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