Alexandros Angelopoulos Apostolos

The colourist will be Anthony Raffaele: http://www.imdb.com/name/nm1823588/ Anthony also handled the dailies. He previously worked on Allen's Blue Jasmine as a dailes colourist for Deluxe.

My he rest in peace. Bill says "he left quite a legacy". Are there any trademarks or recognizable stylistic devices he was known for?

I was just looking at his work, and then this happened. He did look a bit frail in the most recent photos. Rest in peace. He will be missed. Could somebody tell me what is this thing hanging around his neck that's not a camera nor a light meter? What is that camera, by the way? Does anyone recognize it?

A slight detour from a few of the more recent posts above this one I have a few things to ask about, but spot on as an answer to this whole thread is a brief tutorial colourist Juan Melara wrote in October 2015 about the look of Midnight in Paris: http://juanmelara.com.au/midnight-in-paris-reverse-engineering-the-grade Here is something I don't understand: If a Kodak 2383 LUT with the D55 whitepoint means modifying, warming the digitized imagery by changing its white balance to 5500 K, how come picking a whitepoint lower than the actual one, the one under which the film was shot, ends up in warming the imagery? If "Moderatly Overcast Sky" has a white balance of between 6500 and 8000 K and "Shade or Heavily Overcast Sky" between 9000 and 10000 K, how come picking the daylight one ("Daylight with Clear Sky (sun overhead)" is between 5000 and 6500 K) ends up in warming the imagery? I thought that picking a white balance higher than the one you shoot in ends up in warming the image, and picking the lower one end up in cooling it. I'm a bit confused. :blink:

So far I found that these films were shot with the Sony F65 CineAlta: Kickstart Theft (2012) Made in Jersey (2012) Tears of Steel (2012) Save Me (2012) The New Normal (2012) – partly After Earth (2013) – partly Belle (2013) Evil Dead (2013) Vénus à la fourrure (2013) O tempo e o vento / Time and the Wind (2013) White House Down (2013) The Smurfs 2 (2013) About Last Night (2014) Deliver Us from Evil: Sarchie (2014) Kış Uykusu / Winter Sleep (2014) Let's Be Cops (2014) – partly Lucy (2014) – partly Testament of Youth (2014) The Dark Horse (2014) Ex Machina (2015) – partly I see that Alexa 65 has only so far been partly used for Spectre.

That's wonderful. :) Thank you for the information. So since this film will be shot at 4K, how does that work? The cameras has such a setting, similar to how still cameras have various file sizes available for pictures to be recorded at? It won't be shot at 6K or 8K and then downsampled?

How does this camera, Sony F65 CineAlta, compare to other cameras in its class and what are some of those cameras?

Yes, I presumed that that would happen, one would get an even more orange image. But somehow I again didn't understand the whole thing, and here probably because of the verb "pull". I thought that you meant that DPs put the orange filter for outdoor shooting to make the image on a tungsten-balance film stock bluer. Then I thought it's the reverse, they remove it. I guess the lack of a comma for that elided relative clause "normally used when shooting tungsten-balanced stock") makes me think twice. I don't know if "outdoors in daytime" goes with that or if it's a continuation of "pull the filter (outside in daytime)".

Could you explain? What happens with this filter on when shooting in tungsten-lit interiors?

This is confusing. Why then are people shooting at magic hour? More because of constrast and less about the colours? What does a cinematographer want? Blue skies except approximately in the west (as you know, the Sun sets in the exact west only twice a year), where they will be reddish? What's the point?

Oh. That kind of doesn't make any sense to me. I thought that one would either be aiming at warm, fiery tones or blue ones. I don't get it how can you time red clouds or alpenglow to be blue. That makes no sense. I'm sure there are techniques to turn any colour into any other colour, however horrendous the results may be, but one usually shoots at a particular time because one wants either red or blue. If you're shooting at magic hour, you're aiming for one of those two, rarely both, if ever. This is one of the reasons why it's better to speak of either the golden hour or the blue hour. Then check the ephemeris to see when it will happen. And then tell the AD "I want everything ready at HH:mm."

Before I add anything else: does magic hour in the usage you are describing imply reddish and orangeish hues of light or does it involve blueishness?

Oh, I thought it was very well defined and the definition widely accepted. :blink: Nowhere did I find that the blue hour can also be called magic hour. But that doesn't mean you're not telling the truth. Are there any books on cinematography that refer to it that way? Somehow I think that that introduces unnecessary confusion. Wikipedia even states that in cinematography especially the golden hour is known as the magic hour, and the article about the blue hour doesn't mention any alternative names: https://en.wikipedia.org/wiki/Golden_hour_(photography) https://en.wikipedia.org/wiki/Blue_hour Blue hour as a term is so well known there is even a perfume named after it: Guerlain's L'Heure bleue.

No, no, don't get me wrong. :) I really liked it for a first few minutes after I saw it. Then I somehow noticed something didn't work for me, and it was the clash of that greenery behind them and the pale blue sky, which made it not seem organic and as if they were lit by powerful car lights or something like that. I really didn't mean it the way you interpreted it, as a sort of a put-down or something. I love it when people do stuff to recreate the effect of real sunset. Or sunrise. I know it's not always possible to have the desired sunlight for all sorts of reasons. And I just brought in Darius not to pit him against Vittorio, but to somehow expand on the fake-Sun-creation effect people try to do for various occasions, such as the one Darius mentioned, the sunlit interior.

Oh, I meant that a particular cinema will be able to show it that way.

Now I'm confused as to what this thread is about. "Soft or warm light in the sky, often characterized by a golden/orange hue" to me means golden hour. There are various definitions, from the one saying it is the first and last hour of sunlight to the one saying it's the time when the Sun lies between the horizon and 6° above it. It is the time of day when that scene from The New World was shot. What David is talking about, and what Marty McCool says is "the hour when the shoplights go on in Paris", to me is the blue hour, which is basically civil twilight. Wikipedia states:

I don't know why David is so surprised, but I'm glad. I always thought this was possible and widely done. :) What I don't like about that scene on the porch is how you can see it's fake when you look at those trees and sky in the background. It doesn't work. You can see the multiple shadows even in the first image from the scene. Darius Khondji spoke about a similar thing he does – I presume he means a soft source inside and a Molebeam and another, soft, source alongside each other outside for the streak of sunlight:

How will you guys know the projection will be in 70 mm?

I used his filmography on Wikipedia to make the list. Somehow that passage that you quoted kind of contradicts the thesis that it was not a Woody Allen film ("original dialogue that had nothing to do with the plot of the original film", "completely changed the tone of the film"). It's funny that just today I read that Wedigo von Schultzendorff wasn't his first choice for the director of photography for Hollywood Ending. It was Haskell Wexler, but he was fired after the first week. I also found out that his most expensive film to date is The Curse of the Jade Scorpion, which cost $26 million. As for the camera work, the other day I bumped onto an interview with Vilmos Zsigmond in which he mentioned that he thinks Woody doesn't really know anything about lenses and that kind of stuff. What really got me intrigued about his films is this warmth, which David Mullen says is something he has been known for all along. Is there anyone else who likes to shoot films that way? What Woody said about the warm colour palette in his films and the 'coldness' of many films today really made me think and look at things differently. I knew something was bothering me, and he made me realize in part what it was about today's films. http://www.rogerebert.com/interviews/simply-do-it-talking-with-woody-allen-about-directorial-style

http://thefilmstage.com/features/vittorio-storaro-talks-frame-rates-experimentation-and-why-italians-do-it-best/ I wonder what kind of filters did he use for exterior shooting. Is this the usual practice? I do hope he pops up in the American Cinematographer when the film opens, which, I presume, will be at the Cannes Film Festival next year.

I was going to mention the death of Carlo Di Palma, but thought that that was evident. Harris Savides’s death is another similar instance. But what happened with Gordon Willis, whose last film with Woody Allen was The Purple Rose of Cairo, released in 1985, yet Gordon retired only in 1997, 12 years after that collaboration. The Wedigo von Schultzendorff choice really interests me. I presume he saw one of the films he worked on and invited him to work with him. I just wonder what film. Same happened with Zhao Fei, whose Raise the Red Lantern made Woody notice him. I presume that Fei is who inspired Woody to create the character of the Chinese cameraman in Hollywood Ending, since in the beginning Fei also used a translator when working with Woody. I think von Schultzendorff really got the Woody look right, and I wonder why they never worked together again. I think that I read in an interview with Darius Khondji that he passed on an opportunity to work on one of Woody’s films, which, obviously, made him chose another person. Something like that.

What are Woody Allen’s films known for when it comes to their cinematography? I see that he himself and David Mullen talked about his love for warm colours. Has he ever talked about why he worked with so many famous cinematographers and why he chose each one for the particular film they worked together on? I’m especially intrigued by these one-time cinematographers and how he found them, such as Wedigo von Schultzendorff, whose work on Hollywood Ending I loved, or why only now Vittorio Storaro. What’s Up, Tiger Lily? Kazuo Yamada Take the Money and Run Lester Shorr Bananas Andrew M. Costikyan Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) David M. Walsh Sleeper David M. Walsh Love and Death Ghislain Cloquet Annie Hall Gordon Willis Interiors Gordon Willis Manhattan Gordon Willis Stardust Memories Gordon Willis A Midsummer Night’s Sex Comedy Gordon Willis Zelig Gordon Willis Broadway Danny Rose Gordon Willis The Purple Rose of Cairo Gordon Willis Hannah and Her Sisters Carlo Di Palma Radio Days Carlo Di Palma September Carlo Di Palma Another Woman Sven Nykvist New York Stories (segment “Oedipus Wrecks”) Sven Nykvist Crimes and Misdemeanors Sven Nykvist Alice Carlo Di Palma Shadows and Fog Carlo Di Palma Husbands and Wives Carlo Di Palma Manhattan Murder Mystery Carlo Di Palma Bullets over Broadway Carlo Di Palma Don’t Drink the Water Carlo Di Palma Mighty Aphrodite Carlo Di Palma Everyone Says I Love You Carlo Di Palma Deconstructing Harry Carlo Di Palma Celebrity Sven Nykvist Sweet and Lowdown Zhao Fei Small Time Crooks Zhao Fei The Curse of the Jade Scorpion Zhao Fei Hollywood Ending Wedigo von Schultzendorff Anything Else Darius Khondji Melinda and Melinda Vilmos Zsigmond Match Point Remi Adefarasin Scoop Remi Adefarasin Cassandra’s Dream Vilmos Zsigmond Vicky Cristina Barcelona Javier Aguirresarobe Whatever Works Harris Savides You Will Meet a Tall Dark Stranger Vilmos Zsigmond Midnight in Paris Darius Khondji To Rome with Love Darius Khondji Blue Jasmine Javier Aguirresarobe Magic in the Moonlight Darius Khondji Irrational Man Darius Khondji Unititled Woody Allen film (2016) Vittorio Storaro This is how it looks when it comes to number of films per cinematographer: Carlo Di Palma: 12 Gordon Willis: 8 Darius Khondji: 5 Sven Nykvist: 4 Zhao Fei: 3 Vilmos Zsigmond: 3 David M. Walsh: 2 Javier Aguirresarobe: 2 Remi Adefarasin: 2 Kazuo Yamada: 1 Lester Shorr: 1 Andrew M. Costikyan: 1 Ghislain Cloquet: 1 Wedigo von Schultzendorff: 1 Harris Savides: 1 Vittorio Storaro: 1

I was just watching one TV interview that reminded me that I think I don't have a problem with chin shadow if the shadow is small. If it covers the whole neck, it is awful. It creates new problems and solves a few mentioned above.

I guess, David, that I have a fundamental problem in that I like brightness and so much mood is accomplished with opposite means. I also have the impression that backlighting is so ubiquitous that I sometimes feel people need to try something else. Everybody's doing it. It's everywhere. I feel it darkens the frame. Can't you, for example, have a shot of two people lit by direct sunlight filtered through a big canvas of some fabric, muslin or silk or any other? Satsuki says chin shadow slims the neck and hides flaws. I kind of always thought it gives you a negative feature, a double chin. It never looked pretty to me. I must pay closer attention now to reconsider my viewpoint. I did reconsider my stance on shadows, and now I'm OK with them. I was rewatching quickly some scenes from To Rome with Love given what Darius Khondji talked about in his interview about the film how he hates bad lighting on actors faces to see what kind of lighting he likes, and I was expecting light, airy shadows, with soft contours, and I have to look again, since I pretty much bumped only onto uniformly lit faces, with diffused light or something like that, with no shadows. I loved it when he splashed frontal sunlight all across a scene – I didn't expect that, and I found that it created the mood marvellously. http://s12.postimg.org/xk7ieo07g/vlcsnap_error712.jpg As for Yes, precisely. That's why I was so surprised there was lens diffusion on a TV news programme. I thought everything was supposed to be neutral. I felt that some of that was lacking on shadowless faces in To Rome with Love, the three-dimensional feeling.

That's great! :) You have a first-hand source right there, on the set!