Alexandros Angelopoulos Apostolos
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I must try it, because I’m so doubtful. :blink:
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- food photography
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I was watching the VSCO Academy’s video with some advice on doing food photography with a phone, and one of the tips was to use anything white as a reflector and fill the shadows with that bounced light. Could this really be effective? The advice does pop up in a few other places, for example, here: http://iphonephotographyschool.com/food/
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Linus Sandgren FSF
Alexandros Angelopoulos Apostolos replied to Adam Frisch FSF's topic in Cinematographers
Congratulations, Linus! :) Adam, if I’m seeing correctly, it is out on DVD, Blu-Ray and UHD Blu-Ray in May: http://videoeta.com/movie/181682/la-la-land/ http://www.blu-ray.com/La-La-Land/458490/#Releases Note, though, that the UHD disc is probably an up-res. -
That was just painful. I’m a bit sad for Moonlight to get it that way. Oh, well. I haven’t watched the ceremony, so it took me a few minutes to see the top-of-the-hour news to see what happened. At first, I had the impression that the news made it seem as if Warren made the mistake, but, actually, he was just confused? Poor Faye – now she appeared a bit hasty and reckless, but there was no way to avoid that, I guess. In the years to come, now I expect everyone to be reading every letter of the card before announcing whatever they are set to announce.
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Congratulations, La La Land! :) I think we all predicted that Linus would win. :) Yeah, Fatih, I, too, wanted to ask what is the deal with Moonlight’s photography: I had a problem with the skin of African American actors appearing somewhat greenish, shaky cam, and generally distracting bokeh. I haven’t seen the film, though; it just appeared that way from the previews. I feel sorry for them for having received the award, for best picture, that way. Oh, well.
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LED vs Tungsten
Alexandros Angelopoulos Apostolos replied to Peter Bishop's topic in Lighting for Film & Video
I was actually watching a video on this last night and I don’t know why, but I still can’t really wrap my head around “soft” and “diffused” not being synonyms. When I saw the thumbnail of the video, I thought that Sareesh was mixing apples and oranges: “hard” & “soft” and “specular” & “diffused” seemed to me to be two different classifications of light, not one and the same. -
LED vs Tungsten
Alexandros Angelopoulos Apostolos replied to Peter Bishop's topic in Lighting for Film & Video
This is funny. I don’t know if you’re saying the exact thing or the opposite of what Darius Khondji talked about: You do both agree, though, that you need to diffuse or bounce them to get the light you like. It’s funny, because I always thought that these panels give away light that is already evenly spread and not very directional and pointy. -
Ditto. The only thing left for me to say is that I co-sign everything that you just said: it really does look better and better with every new trailer. To think that when I first saw that leaked trailer last year, I thought “Oh, dear: I don’t like the look of this. :blink: ” to now really being all “I can’t wait”. Khondji really is a master. I loved spotting what seemed to me to be the remains of film in the scan, that particular graininess which now I wonder whether it is a kind of trademark of Khondji’s, since I’ve spotted it before in Allen’s films. I presume that you’re superexcited that this was shot on film. I hope you manage to hunt down that print. It seems that this was only a 2K scan, the unreliable IMDb says. Perhaps they’ll attempt a 4K scan for some kind of future release. I’m trying to remember which film Darius was talking about when saying that the main release was 2K, but that he also did supervise a higher-resolution scan, and that it did look prettier. Perhaps Magic in the Moonlight. I'll have to check. If there’s anything supertricky to shoot, in my view at this time, it is a lush green forest. A jungle. It’s easy to make an autumnal forest look gorgeous and filmic, but what to do with all that greenery and all those blue and grey shadows. :ph34r: This is not a documentary about wildlife in Africa to make everything gorgeously supersaturated with vividness and vibrance pumped to the max.
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Thank you so much for such a detailed reply. :) Oh, dear. So what kind of approach do the cinematographers use these days when wanting to diminish the incredible sharpness of these cameras? The reason why I asked this in the first place is that I was re-watching Magic in the Moonlight, a film whose look I really, really like, even though I kind of think about it as “wrong” – meaning that even though at times it evokes the sunny feel of summer, I can’t say that it looks or feels like the French Riviera in the summer. There is something “cold” about it. (In fact, I think that Khondji somewhere stated about this film that this is where they first attempted to move Woody Allen away from all the warmth, though I have to check this. Odd, considering that summer indeed should be “warm”, on the face of it. Later the distancing from warmer looks continued with Irrational Man.) Anyway, these lenses give really gorgeous looks to out-of-focus backgrounds. There is this wonderful appearance of the fuzziness of the background and this (semi)circular pattern in that fuzzy background, which I’m sure has a name, but which I don’t know. So I was wondering if you can mount these lenses onto a supersharp digital camera and create something similar. Perhaps there are other lenses more suited for this purpose? These lenses used for Okja, as per IMDb, the Panavision System 65 and Primo 70 Lenses and Panavision Super Speed MKII and Ultra Speed MKII Lenses, what kind of look do they give? The sharpness of these sensors is sometimes – just look at those sharp trees in front of Hagia Sophia in the background around 1:01 or how sharp Istanbul in the background looks around 2:23. In reality, I don’t know which camera was used to shoot this, but somehow I think it was a digital one.
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LED vs Tungsten
Alexandros Angelopoulos Apostolos replied to Peter Bishop's topic in Lighting for Film & Video
So regarding this thread's title and what Macks has said... How big a problem for movie lighting is the CRI of a LED light? The CRI is 92? Does CRI matter at all? -
Sicario
Alexandros Angelopoulos Apostolos replied to Frank Barrera's topic in On Screen / Reviews & Observations
Thank you. I thought: blue from her right, purple/pink from her left and also behind her on her right. -
Sicario
Alexandros Angelopoulos Apostolos replied to Frank Barrera's topic in On Screen / Reviews & Observations
Funny: just around the time I was inquiring about this, it seems this appeared on the Film School Rejects Web site: https://filmschoolrejects.com/paint-it-black-the-silhouettes-of-cinematographer-roger-deakins-b5a57dc9b918#.dsi20yspi But looking at these two I really hope they waited just before nightfall to shoot. Otherwise, it’s kind of fake? By the way, while I’m at it, how did he achieve this mix of blue and purplish? -
True Grit
Alexandros Angelopoulos Apostolos replied to Stuart Brereton's topic in On Screen / Reviews & Observations
Ha! So that was it. The flame did seem a bit “thicker”. I thought it might be some sort of a special match made by the production-design team or something like that. Something like with what happened on Barry Lindon or now with Silence? I seem to recall very vaguely Rodrigo Prieto mentioning some candles or something that the production designer researched thoroughly for the film.