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Alan Kovarik

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  1. There is also making of documentary Notes on an American Film Director at Work (2008) with 65-minute BTS of Martin Scorsese shooting Departed and Full Tilt Boogie (1997) with 97-minute BTS from From Dusk Till Dawn. And I just found 260-minute (!) BTS footage from shooting Rob Zombie's Halloween. https://www.youtube.com/watch?v=Bd4TYcQAQ9w
  2. I also found these documentaries. The Making of Fanny and Alexander https://www.youtube.com/watch?v=NzkO4FgzQxI The Making of Autumn Sonata
  3. Do you know any making of documentary similar to this? (No interviews, just raw footage of behind the scenes)
  4. They also used a rig mounted on the actor (with camera shooting through a mirror) as you can see here. Similar rig used Aronofsky in Pi.
  5. They used a system of ropes and pulleys for camera movement and sometimes fire service cranes.
  6. But wide shots on IMAX looks more natural and lifelike, because they are less distorted, right? I am not sure it is only about the depth of field and wide shots. Even large format portrait or product photography has a specific look.
  7. So why movies shot on IMAX looks so epic even on TV? I think it has to do with the size of the frame (because on IMAX cameras you need to use longer lenses which has specific effect). But can somebody describe it what is happening here?
  8. Can somebody elaborate why a movie shot on IMAX has a different look than a movie shot on a regular 35mm camera? I am not talking about the aspect ratio and screen size (IMAX movies looks more monumetal even on ordinary television).
  9. This is also interesting. Maybe Hitchcock was thinking about this: https://en.wikipedia.org/wiki/Optimum_HDTV_viewing_distance#Visual_angle The ideal optimum viewing distance is affected by the horizontal angle of the camera capturing the image. One concept of an ideal optimal viewing distance places the viewer where the horizontal angle subtended by the screen is the same as the horizontal angle captured by the camera. If this is the case, the angular relationships perceived by the viewer would be identical to those recorded by the camera. A mismatch in this regard is traditionally disregarded, but some rotating motions can make these distortions very noticeable as a pincushion effect. This is likely in 3d video games, so gamers are likely to adopt close viewing positions matched to a game's fixed field of view. If the camera's angle were always the same, an optimal viewing distance could be easily calculated. However the camera's horizontal angle varies as the focal length of its lens changes. If the camera's sensor has fixed dimensions, a shorter focal length (wide angle) lens captures a wider angle of view, requiring the viewer to sit closer to the screen. Conversely, a longer focal length (telephoto) lens captures a narrower angle of view, demanding a more distant viewer position. Such opposing viewing distances would not only be impractical, but would negate the very purposes of telephoto shots (for example, to see a distant object in more detail, or minimize distortion in facial images) and wide-angle shots (causing the viewer to sit too close to the screen, where undesirable image artifacts would be visible). One compromise assumes the lens is "standard" (a 50mm focal length, for a standard 35mm format). A "standard" lens preserves the same spatial relationships perceived by a spectator at the camera location. For a "standard" lens image, viewing distance should be equal to the diagonal length of the screen. It has been demonstrated that viewing a display that occupies a greater visual angle (also referred to as field-of-view) increases the feeling of presence.[8] More importantly, the wider the visual angle (to approximately a plateau point of 80 degrees), the greater the feeling of presence. Horizontal, vertical and diagonal field of view.
  10. According to this the standard lens for 35mm is 50mm. https://en.wikipedia.org/wiki/Normal_lens#Cinema http://neiloseman.com/the-normal-lens/ SMPTE (the Society of Motion Picture and Television Engineers), or indeed SMPE as it was back then, decided almost a century ago that a normal lens for motion pictures should be one with a focal length equal to twice the image diagonal. They reasoned that this would give a natural field of view to a cinema-goer sitting in the middle of the auditorium, halfway between screen and projector (the latter conventionally fitted with a lens twice the length of the camera’s normal lens). A Super-35 digital cinema sensor – in common with 35mm motion picture film – has a diagonal of about 28mm. According to SMPE, this gives us a normal focal length of 56mm. Acclaimed twentieth century directors like Hitchcock, Robert Bresson and Yasujiro Ozu were proponents of roughly this focal length, 50mm to be more precise, believing it to have the most natural field of view.
  11. BTW, what is the standard (non-wide, non-telephoto) lens for 35mm movie camera? For a full frame still camera it is 50mm, but I suppose for 35mm movie camera it would be something like 30mm?
  12. I found this commentary on another forum: Did Hitchcock really shot the whole Psycho with 50mm?
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