Alexandros Angelopoulos Apostolos

It’s funny that you should say this. There’s this singer in Serbia who likes to cover Greek music: for example, , another, kind of resembles a Greek song. But that’s irrelevant. What I find intriguing is why does he believe it is necessary to label them as 4K right there in YouTube titles. I don’t know if it’s him or his directors, but since that’s plural (directors), I think it’s he.

I knew I made a mistake when I mentioned 4K and 8K specifically. I was to lazy to correct it. The point wasn’t in specific values, but in what will happen when you show something shot in lower resolution on a high-resolution screen. I’m not getting hung up on it. :) I just wanted to know what it will look like. Then there’s that other thing Tyler Purcell mentioned, which is the matter of storage. We’ll leave that for some other time. :)

If I decide to film something in 4K, and some years from now TV channels around the world decide to broadcast their content in 8K as the new standard, how will my 4K film appear on an 8K screen? What happens in the reverse case, if I show a higher-resolution video on a lower-resolution screen?

I’ve asked the moderator to change the title of the thread, since we now know that the film will be called Café Society, by all accounts. Most likely, it will be shown this year in Cannes. We’ll find out on 14 April. Ever since I read that post of David’s that went on something like “If someone is this talented, he can blabber all he wants for as long as he wants to”, I keep thinking about it. I don’t think he blabbers in this interview; he did a bit in that other recent one that we mentioned up there in one of the previous posts or in some other thread, I think. Yet what that comment transmitted to me was not about that, but about just how inspiring Storaro is, among other things, even if you might not like his style or are not a fan. He talks about art, philosophy, painting, photography, architecture, he seems so willing share knowledge and experiences, he seems so devoid of vanity and so kind, and you just cannot not be sucked into this whirlwind of awe or some similar feeling. He makes me dream. He mentioned Il cenacolo / Last Supper again. I wonder why he rounded the aspect ratio of that painting, which is around 1.91 : 1, given that the painting is, per Wikipedia, 460 cm × 880 cm (181 in × 346 in), to 2 : 1, and not 1.9 :1. I asked about this aspect ratio before, but for those who know his theory well, could you tell me are there subject matters that he believes this kind of ratio is well-made for, or does he think it’s best for everything: comedies, dramas, epics...? By the way, does anybody recognize that space in the photo where he’s wearing that red-and-white-stripes shirt? He really does look so impeccable and gentlemanly, which only contributes to this impression he gives off. It’s as if he’s dressed for an evening stroll on the Riviera or or as a master of a grand estate for an afternoon on the veranda or something. Certainly a change from baseball caps and sweatshirts.

That’s what I was going to say.

Interview with Vittorio Storaro in CineAlta Magazine: https://issuu.com/sonyprofessional/docs/cinealta_issue_7_issuu_r1

Yes, one can see it. However, I think it got worse over time. Later episodes have this hideous lens-diffusion effect, or whatever it is. Horrendous.

Let’s get this straightened out first: Phil and Freya, do you at least like Midsomer Murders? :)

You mean something like this? www.floorplanner.com Did I understand you correctly?

That's the word. I got my string lights and rope lights mixed up. Thank you. What are they used for in cinematography? What kind of lighting effect do you get? They seem pretty bright, yet the lighting, as expected for a period-drama scene, looks quite suffused.

A few days ago it was announced that Eigil Bryld will be the cinematographer for Woody Allen’s Amazon TV series. He’s a Dane: https://en.wikipedia.org/wiki/Eigil_Bryld You surely know him from House of Cards, which I find dreary in its look. Who knows, perhaps this series will be another 2 : 1 aspect ratio production from Woody Allen.

Could any of you tell me what is the name of that piece of lighting equipment that appears somewhere around 00:12 in the video at the bottom of this article? http://www.radiotimes.com/news/2016-03-06/visit-the-real-greshamsbury-park-and-the-handsome-houses-in-doctor-thorne It looks like a piece of Christmas string lights.

Some screencaps, please. :)

Would this help you on how to calibrate it? If it would, please do explain it to me once you're done. I wish someone wrote a transcript of this or transformed it into some simple step-by-step guide on how to calibrate a light meter.

Oh, I strongly disagree. I see so many horrid backlit shots everywhere. I guess I have a "problem" with it because it is so ubiquitous, it is almost a cliche. Everyone is doing it. I have this, probably wrong idea, that no one is really trying to shoot a beautiful front-lit scene. Everyone is chasing after the halo glow in the hair. One completely insignificant matter or of very little significance is how sometimes it ruins the very hair it tries to prettify. You can see the damage of the hairs. I got your point perfectly the first time, David. You were clear, and it made sense, of course. Here is a screencap (or perhaps a still?) from O tempo e o vento, a Brazilian film that was made into a TV miniseries, which was photographed by Affonso Beato. It could be a more beautiful shot, for sure, but I just love the creaminess and the colour of the light. I couldn't find another shot to illustrate my point better. I must seek out those models on the beach. :blink: It's not something I associate with late-afternoon photography, but I believe it, and it makes total sense.

I expressed myself badly: when I mentioned Gone with the Wind, I meant it in a positive light, a film full of colour.

By the way, are the 4K Blu Rays already on sale for some films?

Isn't it sometimes even desirable, as it adds a certain charm? What do you perceive when you walk into a shop with all those shiny new TVs, and they're showing one of those special videos and DVDs or Blu Rays made to showcase the TV's resolution?

Why backlit always? Why is even the low afternoon Sun problematic?

Thank you for that Big words! I was a bit baffled myself. I was definitely generalizing. The first thing that came to mind after I wrote that was Gone with the Wind. I'd also have to remind myself of big epics, Ben-Hur or anyhing like that, but from what I remember, I think I wasn't impressed with colour.

I don't think it was in California. In your post there is a premise that lighting should be naturalistic. I don't think there'd be anything wrong if it were set in the early hours of the morning or last hour of daylight. And it would've been much more beautiful. Or not. There was probably no thought about emotional effect. It was probably easier to have everyone awake at noon. Is To Catch a Thief a star vehicle, devoid of any artistic merit?

It's funny you should ask. I watched The Winslow Boy the other day and thought the lighting was beautiful. But then some months ago I saw a movie with Cary Grant – and I'm embarrassed to say I have no idea which one it was – and there was a scene where a car stops somewhere in the middle of the street, and the lighting was awful, toppy, noon daylight. The colours were all washed away. So I'm talking about colour films.

I actually thought that the lighting styles of the past didn't really call much attention to themselves. If I were to generalize, it seems that my impression is of harsh, white, bleaching light in a lot of older films.

Do the table or desktop lamps in shots have a particular purpose? What is the typical purpose of those lights in frame cinematographers use them for? Once I noticed them turned on almost all the time, I now can't stop doing it. Sometimes one or more are turned off. I would also like to know whether DPs like to mix light, especially artificial light and daylight, and why, since this is something I thought was ugly and should be avoided. It seems it's quite the reverse. In the end, light coming through a window and through a curtain – is it almost always filtered through something invisible in a shot behind the window or the other way around?

I forgot this one. It should go with the first group.