Alexandros Angelopoulos Apostolos
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Everything posted by Alexandros Angelopoulos Apostolos
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Could someone tell me are they again using the Sony F65? http://www.woodyallenpages.com/2017/10/2018-film-chalamet-and-fanning-in-central-park/
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Vittorio Storaro and Edward Lachman held a masterclass at the 55th New York Film Festival. Here is some of what they talked about: http://filmmakermagazine.com/103696-color-crews-and-shooting-digitally-ed-lachman-and-vittorio-storaro-at-the-nyff/ For those of you who know Italian, here is more: http://www.lavocedinewyork.com/arts/spettacolo/2017/10/16/nyff-lequilibrio-tra-luce-e-buio-di-storaro-la-piazza-politica-di-ferrara/
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I was just waiting for someone to come and tell me that. And voilà, here you are. :)
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But forget the reviews. As usual, you have to see it for yourself. If nothing, we'll all enjoy dissecting the cinematography, whether we end up loving it or not. Blade Runner 2049 is loved by critics, but the movie is terrible.
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The Huffington Post has a brutal title: Surprise, Surprise: Woody Allen Made Another Lousy Movie:
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Vanity Fair – “Wonder Wheel Review: A Pretty Melodrama with a Woody Allen Problem – Though gorgeous to behold, the writer-director’s latest has some familiar issues.”:
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The first reviews are up, too. Variety: The Guardian: Vulture:
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Here are two new clips new clip:
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Well, the point was not the film; it was cinematography. You and I both no that there is a pretty good probability that the film won't be good – we have now become accustomed to think so given Allen's previous several films. I've actually never posted about these films because of what they're about or anything like that. My main goal was to see the impressions about the cinematography of those movies, which I still think is a main purpose and goal of this whole forum and this particular subforum together with In Production. At first I thought that Storaro went for diminishing the sharpness of this one compared to the last. In the trailer opening, is that diffusion, or whatever it is, a product of computer correction or on-camera filtering? I'm a little surprised about how it looks – I expected it to be totally different, but at times it almost seems it's the same movie as the last one. In terms of cinematography. I don't get it why is he so in love with that really powerful and overexposed backlight in hair. It's everywhere.
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Here is the first look at the second collaboration between Woody Allen and Vittorio Storaro: It was posted yesterday. The film will premiere on 14 October 2017 at the New York Film Festival and will be available on 1 December in select theatres. IndieWire has all the best shots and The Woody Allen Pages has a shot-by-shot breakdown. It looks very candy-coloured, doesn't it? And not much unlike the last film even though the time periods are different. In fact, it seems like a continuation or a variation on a theme. People are already declaring it visually stunning and saying no wonder, since it's Storaro.
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Share your still photography
Alexandros Angelopoulos Apostolos replied to Satsuki Murashige's topic in Off Topic
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Back to black. (Finally.) The computer will set you back $5000. At least. The maxed out model will then be what – $12,000? More than $10,000 for sure, I should think. Lovely thingy. Appearing in stores in December. https://www.youtube.com/watch?v=a38_qR-S8Yo https://www.apple.com/imac-pro/
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So... What's the cinematography like in Okja? I started this because this is the first feature Khondji used the Alexa 65 on (he used it before on one commercial, I think, and was one of the first to do so, I believe). So I'm intrigued as to how the film looks and how Khondji's work looks in digital. Here is another brief sneak peek:
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Well, this is not how to shoot video, but still photographs, and it's been out there for about two weeks now. I wanted to ask you what do you think about it. Certainly none of you need this, but specifically I wanted to know what's up with this "lower the exposure" when shooting during golden hour? In my view, the photo would've looked much better if they let the exposure alone, even if the part of the face are overexposed. (BTW, does that golden hour look a little bit like not yet golden hour? I think that at one point it's as if you can just about see that someone has just warmed up the light a bit in postproduction or the camera changed white balance in that instant.) https://www.apple.com/iphone/photography-how-to/ https://www.youtube.com/playlist?list=PLHFlHpPjgk72JW5vfYlzycSgG_Z6EV4hK
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Oh, good. The BBC first had a title that the film was "booed", but then they corrected it to say that it was stopped because of a technical glitch. Are reactions excellent? I'm relieved. I really am. Because to me this looks like a bore. Yawn. :ph34r: It's as if I saw this movie already: the monster is different, but everything else is there – an evil corporation is after a lone compassionate and just individual who is trying to save the world from the corporation's wickedness. I'm glad I'm wrong. It seems that Khondji's next film is Benjamin Millepied's Carmen.
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This film was supposed to premiere today at the Cannes Film Festival. Darius Khondji will be there, according to afcinema. Apparently, Netflix did not want this to be shot on film and demanded it be shot in 4K: The film got into a controversy between Netflix and the Festival because Netflix didn't want to show the film in French cinemas. The screening was stopped today because of heckling. Here is a fresh interview with Darius Khondji – in French. Check this link, too. Here's another one, in French again. Funny that he says he hopes he has no style. The film will be released on Netflix on 28 June 2017.
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Another tiny bit: Darius Khondji states on the afcinema.com that they made a DCP in EclairColor for certain copies of the film with Karim El Katari, who is with Eclair Digital.
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I have just come back from seeing this. I saw it on a smaller screen in a multiplex cinema. The film was projected on a screen with what they say is a latest-generation Barco projector (I haven't managed to find which model it is). It looked very bright and crisp; at times, it didn't even feel as if it were shot on film. There was grain, but it was made up of such small particles, it seemed to me. I'm so illiterate at this things, so since I'm seeing a few references here to the film stock being either underexposed or overexposed, could someone tell me where was that evident in the film? All the way home, I kept thinking that this almost didn't seem like a Khondji film. Sure, there were brief appearances of some of his signatures, such as the quite noticeable use of practicals, diffused lighting (but not a whole lot it; there was harder lighting in there, too), that greenish yellow cast over the whole picture, which for some reason reminded me of Magic in the Moonlight, but there the cast was of different shade, and because of that cast, a ton of colour correction (which, if I got it right, some say is a Khondji trademark). It was a beautiful film. Before I saw it, only one review, in the Wall Street Journal, was negative, and that review also mentioned that the copy the reviewer saw was murky. The one I saw was very bright. I did wonder, however, if anyone else from around here who saw it noticed a lot of out-of-focus things which I thought should have been in focus. The most glaring of these was that shot of those people on a terrace. Another thing: I don't know if this is just some fault in the copy I saw, but near the right bottom angle of the image there was a weird red blotch of irregular shape, something that reminded me of a trace sun can leave when damaging a photo. I don't know what that was. I expected a little more tableaux or iconic frames worthy of being immortalized in a screenshot or two, but overall, I'm quite content. It is a lovely movie. The time past by at just the right pace, not too fast and not too slow, and the ending was satisfying, something which I thought it wouldn't be. I look forward to more of your opinions. P. S. The film will be out on DVD and Blu-ray on 11 July 2017, 2 months and 3 days from today.
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Oh, wait – here it is in English: http://www.afcinema.com/Darius-Khondji-AFC-ASC-sheds-light-on-his-retrospective-at-the-Cinematheque-francaise.html
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I bumped onto this a few weeks ago: http://www.premiere.fr/Cinema/News-Cinema/Pourquoi-il-faut-voir-La-La-Land-en-EclairColor It is in French, but I hope you will understand it easily or use Google Translate to read the article. The comment below seems to imply that the article is a good marketing piece. Or perhaps that’s what I inferred. What do you think of EclairColor?
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I just bumped onto this and didn’t even have the time to read it, but decided to post it here immediately: http://www.afcinema.com/Ou-Darius-Khondji-AFC-ASC-eclaire-sa-retrospective-a-la-Cinematheque-francaise.html?lang=fr I see that there are mentions of The Lost City of Z, too.
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Light Meters
Alexandros Angelopoulos Apostolos replied to Reggie A Brown's topic in Lighting for Film & Video
Can you charge it using a power bank? -
External Blu-ray Player
Alexandros Angelopoulos Apostolos replied to Alexandros Angelopoulos Apostolos's topic in Off Topic
Yippie! This reply made me so happy on so many levels! :D Part of the scenario you describe is almost exactly what I’d need it for. Can’t really believe it, actually, that you have this exact one. :D Great! I was looking at some other models by LG today, and I was so bummed, because they all seem to be such bricks, and I don’t need yet another brick to move and carry around. This is the one to get, then. :) -
I was wondering... Has any of you had an external Blu-ray player? Or do you perhaps own one now? I’m strangely attracted to buying one while at the same time kind of wondering what’s the purpose. The Wirecutter, part of The New York Times Company, recommends one of Pioneer’s models: http://thewirecutter.com/reviews/the-best-external-blu-ray-drive/#a-faster-louder-desktop-drive This, though, does make sense:
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I wondered about that. I remember it as something ancient, since I used it quite a long time ago and wondered if it even exists. Thank you! I'll look it up now. :)