Alexandros Angelopoulos Apostolos
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Everything posted by Alexandros Angelopoulos Apostolos
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Why “god forbid”? What's wrong with overhead lighting? :)
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It’s funny how, in the end, you sometimes get the information you sought. :) I just thought to add these posts to Adrian’s great answer. I’m glad I wasn’t the only one noticing this. Which is what prompted this whole thread above, back when I didn’t know these were referred to as “practicals”.
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Mariah Carey
Alexandros Angelopoulos Apostolos replied to Alexandros Angelopoulos Apostolos's topic in General Discussion
Could I ask is the scene on the cliffs here, around 1:39, achieved in similar sort of ways? -
I was actually wondering the same thing... And I don't think Café Society is one of those. I just feel that there is this big hole in his Hollywood career where no film of particular merit got shot by Vittorio. He seems so willing to work. So why wasn't he hired more? I wish him many more films to come, even lousy ones. http://theweek.com/articles/635521/why-greatest-cinematographer-earth-stuck-making-lousy-movies
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Oh, something messed up my thread title again... I’d appreciate it if a moderator corrected it – it was supposed to say Woody Allen’s 2017 film.
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Storaro is back. And so is the Sony F65. http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-filming-cafe-911441
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The Hollywood Reporter has an article about Storaro and his work on the film: http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-filming-cafe-911441
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playing with nets
Alexandros Angelopoulos Apostolos replied to David Mullen ASC's topic in Lenses & Lens Accessories
Oh. I do not like the net look at all. Ouch. :) -
The day has come – out in New York and Los Angeles. :) If you see it, let us know. :) :) P. S. I forgot to let you know the DVD and Blu-ray can be pre-ordered from French Amazon: https://www.amazon.fr/Caf%C3%A9-Society-Jesse-Eisenberg/dp/B01H47IGSY/ref=sr_1_2?s=dvd&ie=UTF8&qid=1468559842&sr=1-2&keywords=Caf%C3%A9+Society https://www.amazon.fr/Caf%C3%A9-Society-Blu-ray-Jesse-Eisenberg/dp/B01H47IIIM/ref=sr_1_1?s=dvd&ie=UTF8&qid=1468559842&sr=1-1&keywords=Caf%C3%A9+Society
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DVD and Blu-ray out on 13 September 2016: http://video.fnac.com/a9858768/Cafe-Society-DVD-Jeannie-Berlin-DVD-Zone-2
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Santo Loquasto on work for the film: http://www.wsj.com/articles/cafe-society-designing-1930s-hollywood-for-woody-allen-1467828458
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If that’s what it is. :) Crucial moment.
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So, wait, I’d like to apply this knowledge to an example. Let’s say this one: I can’t find a better picture now (it got lost somewhere in History), but I presume that what I’m seeing is an Aircraft Landing Light, probably better known as a Dino, gelled with some sort of blue gel and then diffused with that diffusion material, whatever it is. What is the colour temperature of that Dino and what will be the resulting effect from the gel?
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So everybody know that if you pick a higher colour temperature than that of the light you are under, you will get a warmer image; vice versa, if you pick a lower temperature, the imagery will end up with cooler light. What I want to know is why does this happen, and is there some sort of middle value the camera is trying to set everything on? That is, if I’m under 6000 K lighting and I pick 10,000 K white balance, is there a way for me to calculate which lighting (colour temperature) will I end up under? This is better generalized as given two colour temperatures, real one and chosen one, what will be the resulting one in the imagery? Also, are there any limits in terms of difference between the real temperature and the chose one that shouldn’t be surpassed, thus avoiding really ugly results? Ultimately, if going for a warmer image, I will always end up under a yellower image and not redder or more orange?
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Meanwhile, the colourists over at another message board seem to think that physical media are dead, and that this, if it survives, will be a niche market.
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http://variety.com/2016/digital/real-estalker/early-ultra-hd-blu-ray-sales-numbers-exceed-disc-predecessor-1201804322/
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I was reading the Oscillating the ISO on Alexa thread yesterday and in it David says so I was wondering is there an easy way do to a calculation of this sort on the spot without any aid from a gadget or an exposure calculator: What is the difference in exposure between ƒ/4.5, 24 fps, ISO 640 and ƒ/2.8, 60 fps, ISO 800?
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Oh, so it’s also known as a “grip cloud”! That helped me find this: What a horrid day that must’ve been. At first I read that the grip got punctured! But it was the cloud… Thank God. Where was the PA or AD or whoever is it that was responsible for weather forecasts on the set? So, having your last line in mind, you do link them and the way they modify light? Is there something that they bring to the picture that cannot be replaced with something else?
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Well, I do wonder if it was easier to put a frame, perhaps a bit angled, or a few frames right where Darius is standing all the way up to where the Sun is shining through the balloon above the gelateria's awning. So much trouble for a shot that lasted a few seconds in the film. Here’s the same spot, only with the camera taking the picture standing opposite the one that made the pic above: It seems the balloon set-up changed as well.
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You all know that harsh Sun of summer in Rome was a problem during the filming of To Rome with Love so to battle it and create the desired lighting, Darius Khondji and his team used diffusion balloons from ALF Service in Milan. This is how that looked like in Piazza della Madonna dei Monti: They remind me of inflatable air mattresses, that swimming pool/beach toy that, I see now, has a few other names in different varieties of English. I was wondering has anything like this been used elsewhere and how fairly standard is it as a piece of equipment?
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Are there any good ones that are of the credit-card type?
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Has anyone ever used linen in the film industry?
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Catch-22? By the way, who are you replying to exactly? :D
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Perhaps it is also true that I might be thinking of the gaffer as someone who is wiring things and making sure everything is safe and taking care of power generators, sockets, and stuff electricians do, and not as someone who designs lighting. Then there’s that UK vs. U.S. difference between what a gaffer does? Or is it the whole of Europe vs. the U.S.? Anyway, I often wondered how much lighting in a film is the work of the gaffer, after hearing they do those things some time ago, and how much the DPs. The answer is probably: It depends. I think it was Robyn R. Probin who was aghast when he saw a gaffer “calling the stops” somewhere.
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But not necessarily. They could be, but they don’t have to be. “You’re a good gaffer. Thus you must be interested in a lot of things” is kind of a non sequitur. In any case, OK, I got it. Gaffer to DP is not an infrequent occurrence. :) I just thought that in the vast majority of cases it’s cameraman or assistant cameraman, either second or first, to DP.