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Alexandros Angelopoulos Apostolos

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  1. He is enamored, or perhaps paid by Sony to use and promote this campaign. Who knows. I do wish he used other tools, just because I'm intrigued as to how that would look. I actually like the look, because it's different. So many films today look so much alike. This is different. Of course, the problem is that even though he says he tries to make every one of the movies he works on look different, and invents a philosophy to back it up, they do look alike. What is with that backlight in hair?! It's everywhere. And another of my pet peeves when it comes to Storaro is that he says he respects the story and the vision of the director, but it never comes out that way to me. Instead, I think he actually pushes his own thing whatever he works on. I don't mind. I just mind saying otherwise. I wish he worked more. He is so unique, and I love a lot of what he does and did.
  2. I remember finding out about these “approximate equivalences”, to put it that way, around here. For example, here: http://www.cinematography.com/index.php?showtopic=59454&view=findpost&p=386059 Daniel Klockenkemper said that “Ektar 100 is probably the closest equivalent to 50D”. Anthony Schilling said the same here http://www.cinematography.com/index.php?showtopic=73026&view=findpost&p=467070 I think I’ve also bumped onto certain mentions of Portra in this regard, and now I’m a bit surprised by Mark’s comments.
  3. Things have changed a lot over the years. Take a look at how The African Queen, a movie from 1951, was scripted: https://gointothestory.blcklst.com/reader-question-what-does-literary-style-mean-in-terms-of-writing-a-screenplay-44c39047306b (Here is the full screenplay: https://www.weeklyscript.com/African+Queen,%20The%20(1951).html.) I think no one writes like this anymore. Sure, there are writers who like camera direction, and it depends on the genre. I think the most I've seen of camera directions was in a script by J. Michael Straczynski for Babylon 5 and in certain animated TV series scripts (understandable given the way this is shot).
  4. Is there somewhere that I can find perhaps a table which would give me which still-photography stocks correspond,closely resemble, or are equivalent to certain film stocks used for motion pictures? Or perhaps you could tell me some well-documented facts or your impressions. :)
  5. What's with all the hate and irony? It obviously wasn't made for use in professional environment, except perhaps some experiments or something like that. The worst thing is when they try to compare the top Samsung phone and the iPhone and end the review with a line like this: :blink: So banal, pointless, unnecessary. I could add a few other qualifiers, but you get the picture. https://www.macrumors.com/2018/03/16/iphone-x-vs-galaxy-s9-camera/ Thinking about this... People around here aren't really all that much interested in phones. Not a lot of threads about or mentions of them.
  6. Some of you are directors, and I was wondering what do you think about camera-angle directions, transitions, and similar devices in scripts? I have read countless times that it is a huge no-no, especially in spect scripts, but recently bumped onto a tip by John August and Craig Mazin, of Scriptnotes: 1. "Don't write directions in your screenplay" is bad advice. Do directors really mind? Or, in reality, actually like it, as Mazin and August say?
  7. Funny you should mention it, because just the other day, when I was checking if the Blu-ray is out (and it is), I stumbled upon some reviews. The critics are not amused: 1. The Irish Times: 2. The Guardian: 3. The Telegraph:
  8. Oops. Sorry. I presumed there would be problems of this kind with my suggestion, but I just so love the look and thought to throw them in here.
  9. Hmm. I was thinking about this just after I posted, and it perhaps might be said that it is a match jump cut (or jump match cut?). But then, I dunno. I’m not exactly sure. It does look like a simple match cut. Maybe it could probably be one of those Creative Combinations Cuts and Transitions 101 speaks about above after around 9:04. It doesn't apply to your example, but whereas years ago there would have been dissolves, nowadays audiences are editorially literate enough to accept a certain amount of jump-cutting to denote passage of time in a scene.
  10. Hmm, yes. Perhaps then, since a jump cut usually seems to imply no change in framing (although that Good example video does include changes), perhaps it can be QUICK TIME CUTS or QUICK CUTS (my least favourite option, I don’t know why; I guess because it doesn’t seem to imply this sort of urgency as in that scene from the Turkish series above or something like that.). I was thinking perhaps a screenwriter might include a note in the description that each new dialogue block from the same character has a jump cut before it. But then again, a jump cut might happen between lines from different characters. Which makes me think I might then put CUT in the description or, perhaps better, though using more space and looking very technic-y, put that CUT where the CUT usually shoud be, flushed right, where transitions go.
  11. After 3:39 here, the guy talks about the jump cut: After 2:13 here there are several nice examples. The bone to the spaceship is a match cut.
  12. The more I think about it, and google this, it seems like a jump cut. A jump cut seems to be a cut between two “events” happening at the same spot, location, with a few seconds snipped between them. Here, even with the language barrier, I kind of think it is evident that there are jumps between his lines/yelling. I got the impression that a jump cut usually doesn’t include a change in framing, which in this scene, obviously, changes. So perhaps that can be an issue. I don’t really see a way for this to be thought up by the editor without it being visible in the script. But that might just be me. Or, in any case, perhaps I exactly do want to specify it to be shot in this way for some specific and very good reason. Here is an example of a few jump cuts.
  13. Would the lenses Darius Khondji shot Magic in the Moonlight be seen as lenses with character? They are: I don’t know which series in particular produced that lovely (semi-)circular background blur. Or maybe they all did.
  14. Some time ago I came upon this scene from a Turkish soap opera Küzey Güney. Is this a SERIES OF JUMP CUTS and how would you shape it in a screenplay? Might it perhaps go something like this? (The scene is imaginary, because Küzey wishes he could snap on Simay like this.) BEGIN IMAGINARY SEQUENCE: INT. KÜZEY’S HOUSE/ENTRANCE HALL – NIGHT (A SERIES OF) JUMP CUTS… And then every time a cut happens, I start a new dialogue sequence or describe a reaction (perhaps a reaction with a – in front of the description, to denote that it’s a separate cut), include a BACK TO SCENE for reality sequences, and end it all with END IMAGINARY SEQUENCE. With a full stop there. How would you do it?
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