Alexandros Angelopoulos Apostolos

What do you guys call these huge sheets of black fabric hanging in front of the window and that black panel blocking the light in our right-corner side? Is there a particular reason that there are three sheets (or perhaps that third, smallest, thing is something else) and for their positioning in reference to the window (the angle they’re set at)?

What do you cinematographers called that grippage around a fixture? That light ended up giving this result: It's this faint white reflection on Roberto Benigni’s forehead. Do you know why that might have been needed?

Do you guys know about https://shotonwhat.com? It was founded in order to provide more accurate information than those present in IMDb’s Technical Specifications. I hope it’s succeeding in that regard, although I don’t have a gauge on which to assess that. The design is kind of atrocious, and the search could’ve been envisioned better.

Do you guys know about https://shotonwhat.com? It was founded in order to provide more accurate information than those present in IMDb’s Technical Specifications. I hope it’s succeeding in that regard, although I don’t have a gauge on which to assess that. The design is kind of atrocious, and the search could’ve been envisioned better.

It will be shown at the Seattle Film Festival on 19th May 2016: http://www.woodyallenpages.com/2016/04/cafe-society-to-open-seattle-film-festival-in-may/ That will be its U.S. premiere.

David, yeah, I spoke too soon: only after I’ve posted that I saw that it was a film projection they are attending. I was to focussed the first time on the projector light. It was pretty much the only thing I saw the first time I watched the trailer. You’ve been awfully quiet; I presume you want to see the whole film before you speak? Satsuki, you’re on the right path: have you read the huge feature in Film and Digital Times about the film I posted above? Here’s the direct link: http://www.filmanddigitaltimes.com/wp-content/uploads/2016/04/75FDTimes-Storaro-PassageToDigital.pdf In it, he says that there are four parts to the story: among them, one is lunar Bronx and another the sunny Hollywood. The third one is when the main character comes back to New York from Hollywood to work with his brother in the night club – it is the combination of the previous two I listed, Storaro says. Thus the clash between white and yellow light.

That light in Steve Carell character’s office sure is harsh! I understand that Storaro wanted to evoke the Californian Sun. I keep thinking why he chose to use white light for the Bronx family apartment. I guess such apartments in those days were lit with that kind of light, and not with incandescent light bulbs. Then there are those baffling jarred white lights in that night club. The powerful light pointing right at the camera in that library or whatever it is? It was also a bit jarring to see that softened frame introducing Vonnie. Suddenly you go from supersharpness into that softness. California is a bit to monochrome for me. A little bit too much “sepia” (“sepia” nowadays means a lot of different things to different people so thus the quotation marks). Just look at those characters at that pool party when the Oscar-winning screenwriter speaks – their costumes are almost identical and match the surroundings.

Oh, my God! The trailer! Yay! :lol: B) It looks great! B) So much better than what those screencaps made me think it would look! Thank you, Manu!

Oh, I see. I mean, it’s not that that haven’t crossed my mind, but, for some weird reason, I kept thinking “What does The Hills have with Vittorio Storaro?! :blink: ” I tend to associate MTV with reality shows these days, even though it is clear that the above was a reference to the 1980s at that network.

IMDb tells me that Okja will be, probably in major part, shot on Alexa 65, among other cameras. Could’ve guessed it. However, I have no idea how accurate IMDb info is, especially at this stage of the production.

Wait. Hasn’t he also shot the last three of his collaborations with Woody Allen on film as well? :blink: The only digital thing he shot is a project for an artist and a commercial for Mercedes, I believe. What did you think of the colour scheme above? He’s now shooting Okja. I wonder on what medium.

I have no idea how long this trailer will be online, because it seems the studio has been taking it down, so be quick to watch it. Obviously, this being a film with cinematography by Darius Khondji, I was dying to know what it will look like. I must say I’m not disappointed. https://www.youtube.com/watch?v=EQ0fdnKK02w

I only now realize that the list is from September 2015. The news gathering Web site I visit posted it as a link today. Oh, well, I hope it doesn’t matter. :)

Here’s what NASA recorded with Epic Dragon: http://mashable.com/2016/04/19/earth-4k-iss/ https://www.nasa.gov/mission_pages/station/research/news/red_epic_dragon_camera

Thank you, Clint! :) That’ll do as a starting point. I managed to find something similar, from a scriptwriter’s point of view: http://www.movieoutline.com/articles/a-glossary-of-screenwriting-terms-and-filmmaking-definitions.html I’ll keep digging, and perhaps some sort of a book on editing, camera direction, visual film analysis will pop up.

Thank you, Shawn! :) “Whip pan” is an excellent starting point for further investigation.

Here’s another list! http://www.ilovefilmmaking.com/beautiful-movie-shots/ Sometimes they’re fun. :) I thought it might be interesting to post it here.

I apologize if this is another “necropost”, but I just couldn’t resist: what exactly would this MTV imagery be that was so much influenced by what Storaro did?

There are tons of movies that used this kind of transition and scene-sequence shaping, but I can’t think of a single one right now. What I’m referring to is this: let’s say you have a garden-party scene and a woman is talking and at one point the camera pans right (or left, all the same) and we transition to another scene, for example, of the exact thing she is describing or a character she is talking about. Then again we pan right to her, and so on. It is as if the camera is revolving around an axis. Is there a name for this? Can it be combined with other types of transitions and are there names for that, too?

I was looking into types of transitions, and below a posting on various sorts of transitions in existence, I bumped onto a comment from an “editor / filmmaker” who says that in this Foo Fighters’ video what you see at this point (00:58) in a video is a cross-cut match dissolve: Is it? To me it seems like a simple match dissolve. What would you call these? It is another example from the same commentator.

I was wondering is there anywhere that I could find some sort of dictionary or any other type of book describing the various scene transitions, such as IRIS IN or OUT, JUMP CUT, TIME CUT, and so on, types of shots such as MEDIUM SHOT, TWO SHOT, and narrative devices used in screenplays, such as MONTAGE, SERIES OF SHOTS or various types of sequences (car chases and so on)? Or some sort of really through and detailed filmmaking terms, with included words used in various subfields of this art and craft (editing, cinematography...). Or a dictionary or encyclopedia dedicated to only one of these subfields at a time. There used to exist a nice little piece of software, although it was more like a Web site with a menu along its left margin, called scriptAssist, but now it’s difficult to find even a small trace that it once existed. It used to define some of the things listed above.

Since there are already several threads titled Vittorio Storaro or in a similar way, I thought it was wiser to use on of them to discuss his work than to open a new one. Perhaps I was wrong?

Did I do something wrong?

Thank you. :) I haven’t (seen it). I’ve obviously known about the film for a long time, but the subject matter is unappealing, and eventually I will just have to force myself to watch it. It’s funny that this interview should pop up here at this time, since just some weeks ago I was reading Pauline Kael’s famous review of the film. The way she describes the colours alone makes you want to watch it: But the comments below are telling. Perhaps The Sheltering Sky is much more a film for me, if there are quite a lot of desert shots when the Sun was low. But here are a few other things I wanted to ask about Storaro. He is very dedicated in his interviews about thumping the message home that his lighting and other cinematography-related choices are there to help in telling the story and how he is there to realize the director’s vision, and not impose his own choices. However, I was wondering does he have a specific approach when it comes to contrast, does he like softer or harder shadows, does he like to diffuse and bounce a lot, does he prefer single or multiple sources. Stuff like that. As for his colour theory, does he always equate a certain colour with a certain mood or intention or is that film-dependent? For example, I read that in The Last Emperor he chose orange for the beginning of the film for the Forbidden City and the imperial family, yellow for the young emperor’s personal growth and realization of personal identity. Then green comes when the personal tutor enters the picture – green is the colour of knowledge. What is the situation with other films? Are certain colour always tied to a certain theme?

You could add a quote in the thesis from Vittorio Storaro how he has no interest in shooting in black-and-white: http://www.filmanddigitaltimes.com/wp-content/uploads/2016/04/75FDTimes-Storaro-PassageToDigital.pdf