Miles Jonn

It's a bit humourous to hear how spoiled everyone has become. Complaints about slow zooms, zooming in/zooming out

that was not smooth enough even with motors, etc. Think of all the legendary movies shot with T3.9 25-250 zooms, 50 ASA

or 100 ASA stocks, and hand zooming or more primitive zoom motors, and no one bitched back then.

It's really all in the timing. And the only person who knows the de facto way in which THE GOOD, THE BAD, AND THE UGLY should look is the late Tonino Delli Colli who was the cinematographer. I don't know if he supervised the timing back in 1966. I would think

so. Many times these days it comes down to the personal preferences of the colorists who are doing the grading. The looks

can be varied so drastically. The great thing about Kodak 5251 which was used on TGTBATU is that it was the best stock ever

for rendering skin tones. The best flesh to neutral balance ever. 5254 was great as well for skin tones.

It's really all in the timing. The only real de facto authority on the way THE GOOD,THE BAD, AND THE UGLY should look is Tonino

Delli Colli who was the cinematographer. And I'm assuming he supervised the original timing of the movie back in 1966

but one never knows. The colorists quite often are just going by what their own preferences are. There's so much ability

to change the looks in movies with digital grading of DVDs and BluRays. The great thing about 5251 which is the Kodak stock that

was used on TGTBATU is that it was the best stock ever for skin tones. The flesh to neutral balance was incredible.

Hi Victor thank you for writing! How much would you want for the Techniscope 2.35 ground glass? I do have a Techniscope gate. Thanks!

There's been a plethora of cinema made since Cecil B. DeMille and even since Willis shot the Godfather.......it's hard to imagine

a framing or composition we haven't al seen before......and we either like a composition or we don't.......there doesn't have to be

any overtly profound reason for it....it's the same with composing and framing a shot. Sometimes we compose it a certain way because it just looks good. No need for intricate pretentious subtextual justification.

I personally loathe this sort of framing. And thankfully Gordon Willis didn't do these kind of shots often.

Hi! Am desperately looking for an Arri 2c Techniscope body, or Techniscope parts, or the blueprints

for the Tecniscope parts.