Alexandros Angelopoulos Apostolos

I think Apple’s photographer Peter Belanger used to talk about his Apple photoshoots on his blog (and elsewhere): http://www.peterbelanger.com/

Here is another piece of news from the Cine Gear Expo – higher resolutions, like 4K and 8K, make it possible for editors to re-frame, zoom, alter colours in Avid, and cinematographers aren’t happy about it: http://www.hollywoodreporter.com/behind-screen/cinematographers-worry-new-digital-tools-899964

Well, I’m sure it wasn’t anamorphic. :D It’s around 1:00. Any guess about the 1:43 light?

Wow, Stuart, those look promising. :) I’m thinking 187 Cosmetic Rouge (apricot) or, the one you mention, 188 Cosmetic Highlight (they say amber). Lee says on their Web site of 188 “Barbara Walters’ favourite colour!” I bet Barbara and Oprah aren’t the only ones demanding that be used, then. Could you just tell me what does the Dimming Preview show? I’m a bit lost, even though it probably sounds downright simple.

I have no idea how I bumped onto this, but it kind of reminded me of the K-pop video above: how did they achieve the effect appearing at 1:43 and what creates those light beams (there’s a better word for it, but I can’t remember right now) for the scenes at the cinema: The video looks like a copy of Mariah Carey’s Heartbreaker.

This will be a good exercise to see if I’ll be able to determine which shots are filled with bounce fill, which with HMIs, and which shot is that near-sunset one. Good line that one that direct setting Sun isn’t much harsher than softened Sun. In my view, you can also say that no matter how low, the Sun is always, at least a bit, harsh. But tell me this, in cinematography, are diffusion materials usually always white or beige? Would it be silly to perhaps use a dyed fabric, perhaps orange something if I wanted the light to be a bit warmer?

I think that when she mentions longevity, she means that with the 4K TVs getting ever more popular, 4K content will have a longer life than anything in HD, which is obsolete even now and will be wildly unsuitable to be shown on 4K screens. I.e. 4K TVs will become obsolete in, perhaps marginally, more time than HD ones, which are outdated even now. I know that even the 4Ks will be out-of-date pretty soon, too. But that “soon” will came after the “soon” of HD screens, whose “soon” has already happened. The storage problem and the longevity of digital data has stayed with me as a serious problem ever since you mentioned it not too long ago in on of the other threads. I think it was in The Hateful Eight discussion? Veritas Technologies is predicting that currently 33 % of stored data in the world is ROT – redundant, obsolete, trivial. The firm predicts that if firms don’t face up to this, by year 2020, we will be spending 2200 billion dollars on storing unneeded data. http://www.datacenterjournal.com/veritas-global-databerg-report-finds-85-percent-stored-data-either-dark-redundant-obsolete-trivial-rot/

Perhaps this will result in some sort of change: http://www.hollywoodreporter.com/behind-screen/pga-president-lori-mccreary-urges-899766 Apparently, there are 30 Alexas 65 now in use, with 40 more being built.

No problem. :) I’m glad you liked it. I hope they’ll put up the follow-up tomorrow. Now I can just cry for not being there to see it all in “12-bit uncompressed 4K”. It is so Vittorio to be there hours early to make sure everything will be perfect. Muhammad, too, will be shown in a special projection, although in Ischia, Italy, on 14 July: http://www.ansa.it/campania/notizie/2016/06/05/cinema-storaro-e-morrow-due-leggende-a-ischia-global_0e8cc76f-0eb0-4b34-baf6-9f841a428d3e.html

But in 35 mm format, is it also true, just as in the still-cameras world, that the lenses with the field of view closest to the human eye are those with focal lengths of around 50 mm? Is that a “boring” view, avoided as uninteresting? Or quite the opposite?

Here is The Hollywood Reporter article about it: http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-warns-major-899691

I get that if you’re a professional, and not just any professional working in Hollywood. But even for them it’s difficult or, better, impossible to have that for any film they imagine. Then there are those rich people with no (apparent) connections to the movie industry. Think Patrick Soon-Shiong, the richest person in L.A. I bet he doesn’t get access to DCPs, even though he could if he wanted to. So perhaps he’s not the best example, but you get the gist.

Certainly. :) Perhaps you’ll update and revise it at one point in time. It’d be nice to have the noughties, too. Thank you. :)

I was going to ask why is it that film lights are always described in terms of power (wattage; thankfully, watts are a SI unit – we didn’t need another imperial one, or from any other unit system) and not in lumens or luxes.

New photos: http://www.woodyallenpages.com/2016/05/cafe-society-new-photos-chanel-fashion-critic-cards/ http://www.woodyallenpages.com/2016/05/new-cafe-society-photos-take-you-behind-the-scenes/

I’d love to see it as well.

Do you remember what thread was that in?

Oh, that’s so juicy! A semi-secret network! :D B) Go figure. Makes total sense, but the idea hasn’t crossed my mind. But when you say 4K images in real time, that’s only true for his own films, I presume? What does he do with films unavailable in the secret network? Furthermore, not much is available in 4K, no? I’m just interested in what sort of medium such movies are stored on and where does he get them from. There’s some sort of Amazon for these things or no? Unless it’s a perfectly ordinary Blu-ray Disc, either the normal HD one or this more recent UHD disc, and what I’m asking is silly. P. S. Not very relevant: I have no idea what I was going for with that last part of the question, but I presume that “the” is actually “he”.

I was wondering when someone like Michael Bay builds hilmself a private cinema / home theater like this http://www.architecturaldigest.com/story/michael-bay-los-angeles-home-article what is the medium the show the films from? Is it a Blu-ray or is the film projected from something else?

So could you tell me if the sensor sizes are: 1. ALEXA 65 – 54.12 mm × 25.58 mm 2. RED WEAPON DRAGON – 40.96 mm × 21.6 mm 2. Panavision Millenium DXL – 40.96 mm × 21.6 mm 3. Sony F65 CineAlta – 24.7 mm × 13.1 mm what is the criterion for putting all these cameras in the same class? And two, considering what you said above (Fuji vs. Kodak), why was The Hobbit then shot on the RED EPIC camera?

This one is in the same category as Alexa 65?

Who was the colourist? He/she did a good job.

Hmm... Interesting. :)

Where’s Satsuki? :) I hope he got booked for five music videos and three commercials and is missing-in-action, being snowed under all the work. He’d love that I resurrected another three-year-old thread. :) OK, I’d probably pick Darius Khondji. Correction: I’d definitely pick Khondji. Then Storaro. Because I think he’s, to use a pleonasm, the total opposite of Khondji. Perhaps I’m wrong. But it’s my current impression. Diffused and bounced vs. thousands of megawatts of direct streaks of light. The most recent breath-taking thing about Storaro I only found out recently is that he seems so technically skilled as well. He is both practical and philosophical about what he does. With him, it is both an art and something very down-to-Earth. Renaissance man of cinematography. I’d have to have both of them or, else, nothing. There are so many great people working in this field. It is so hard to choose, and ridiculous. I just took a peek at one of the “greatest cinematographers” list on IMDb. So many people! So difficult to make up my mind. There’s Delbonnel there, for example. I’d love it that he has a background, a degree, in philosophy. That could be interesting. Then I’d pick some of these younger cinematographers, Łukasz Żal or Adam Arkapaw. I don’t really like the look of Ida, but a lot of the set-ups I’ve seen seem complicated. And I love complicated.

The plot thickens. Isn’t la gaz “gauze” and Tüll “tulle” in English?