Ravi Kiran

How Films were Made and Shown The Dawn of Technicolor

The interview I posted above has the answer: Filmmaker: The first night or two after Guava Island released on Amazon, I saw people on Twitter talking about the beautiful 16mm cinematography. Then when I watched the movie the credits say you shot on Alexa LF. I have to admit, you fooled me. I would’ve guessed it was film as well. Did you consider actually shooting on 16mm? Sprenger: We did talk a lot about shooting film. It felt like, aesthetically, it made a lot of sense [as opposed to] a clean digital aesthetic. But, again, importing/exporting was a huge issue. Even when we were tra

The only film I know of that used a film-out to get a film look is "Guava Island," but I'm sure there are others. See this interview with DOP Christian Sprenger for details. The TLDR version is he shot on an Alexa LF, did a film-out of the log image, and did a DI from a scan of that film.

Does anyone know how up-to-date this list of worldwide 70mm and IMAX screenings is? https://www.in70mm.com/news/2020/tenet/index.htm

I recently watched "Little Fugitive," a 1953 film that was an influence on the French New Wave. Morris Engel's handheld, run-and-gun camerawork is simple and beautiful. The doc about Morris Engel on the DVD mentioned a specially designed 35mm camera. Does anyone know anything about the camera or have any pictures of it? I couldn't find any pictures or details about it. I assume that to reduce the size it didn't have a sound-blimp, and maybe it had a smaller magazine?

Some of the crew protocols will probably be easier to change than how to block and shoot actors and extras. What do you do about scenes in which the actors have to be very close to each other? Does this require a fundamental re-thinking of how to shoot such scenes? It seems that creative decisions will be affected, along with overall production logistics.

https://variety.com/2020/film/news/allen-daviau-dead-dies-e-t-empire-of-the-sun-1234582518/ ‘E.T.’ Cinematographer Allen Daviau Dies of COVID-19 at 77 By Dave McNary Cinematographer Allen Daviau, a five-time Academy Award nominee for films including Steven Spielberg’s “E.T. the Extra Terrestrial” and “Empire of the Sun,” died Wednesday in Los Angeles. He was 77. Food editor and writer Colman Andrews wrote on Twitter that Daviau had died of coronavirus at the MPTF hospital. “RIP Allen Daviau, my friend of almost 60 years, cinematographer and bon viva

I'm looking at cheese plates on which to mount a V-mount battery plate. Do all battery plates go with all cheese plates? Can I mix and match? I'm looking into getting this cheese plate: https://www.camvate.com/camvate-battery-backboard-cheese-plate-with-360-swivel-15mm-rod-clamp-adapter2193_p2193.html

The cinematographer of Knives Out wants to end the film-vs.-digital debate

With Dolittle I think they grossly overestimated the draw of CGI talking animals. Maybe 20 years ago that in and of itself would have been a wondrous thing to see, but today's audiences routinely see amazing VFX work in movies and TV shows, so talking animals are no longer a big deal. Same with spaceships, dragons, etc., so there has to be something else in the story or characters to attract them. It's not like Dr. Dolittle is especially beloved IP. Audiences have forgotten the Rex Harrison film. The Eddie Murphy versions were hits at the time, but are also essentially forgotten. Does any

It's the Preston Light Ranger, a focus assist tool. Deadline interview with Darius Khondji NoFilm School interview with Khondji

I saw this a few days ago. It's a great film and a great-looking film. Did you have short-pass filters of varying strengths, or did you use one filter the whole time? Would the filter have a similar effect if used on a digital camera? How did you treat the image in the DI?

You could use spherical lenses that breathe and have barrel distortion, and even fake anamorphic flares with fishing line, but I can't imagine a way to fake the stretched bokeh, which, to me, is the biggest tell of anamorphic lenses.

"Anima" is a short film directed by Paul Thomas Anderson, starring and featuring the music of Thom Yorke, and shot by Darius Khondji. It's currently on Netflix, and it had some IMAX screenings last night. I saw it in IMAX at AMC Citywalk. It's a lovely film, with great dance choreography, and of course, Khondji's cinematography is top notch. It was shot in VistaVision and on the Alexa 65. I highly recommend it.

https://www.kodak.com/motion/Blog/Blog_Post/?contentId=4295008512 Dan Mindel on the budgeting for "The Cloverfield Paradox" “We priced the production for digital versus analog film, and the Paramount executives were convinced it was going to be cheaper for us to shoot it digitally. We estimated that we would shoot between 10 to 15,000 ft of 35mm per day. The overall figure for shooting on film actually came out $150,000 cheaper than digital. This was in part due to the fact that film cameras and film lenses are a fraction of the cost of the digital equivalents, which are rented at t