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Don Berry

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  1. Don Berry
    I was curious if anyone had any information on this movie? Ballhaus didn't shoot it, rather Xaver Shwarzenberger, and It appears to be more heavily diffused than some of Fassbinder's other work. I'm wondering what lenses and filtration were used and how to go about achieving the look of the movie. The closest I've come is using a strong - number 3 - Classic Soft, or a Duto diffusion, on older Zeiss lenses, but it's still not capturing the look of this movie. Thanks for any help.
  2. Don Berry
    Thanks! Curious as to what filters and what strength you used? It does have that soft creamy look but remains sharp, as others have stated, and I think I'm getting closer to it but still not there yet.
  3. Don Berry
    It has been awhile since anyone has posted in this thread, but I have the same question as the OP, and was curious if any new information is known regarding what lenses, filtration, etc. were used on this movie, especially the opening ten minutes or so? Thanks.
  4. Don Berry
    Is there anyone else looking forward to the new Paul Schrader movie, "First Reformed"? Or has anyone caught it at any of the festivals it's played? It sounds a bit like "Winter Light" and "Taxi Driver". I know Schrader has been hit or miss for the past twenty years, but he can still surprise and make a haunting movie like "Auto Focus", so I'm hoping this is on that level in terms of quality. Here's the trailer: https://www.youtube.com/watch?v=hCF5Y8dQpR4 They shot a 1: 37 : 1 aspect ratio, but it doesn't say the camera or lenses used, does anyone have information regarding that? The cinematographer is Alexander Dynan, the same gentlemen who shot Schrader's previous movie, "Dog Eat Dog". It's released in select cities on the 18th in America, and I have badgered their twitter page for information about a release date for Canada and have yet to receive a reply but will post it once I know.
  5. Don Berry
    Just to correct something: I've seen Life on Mars, that's why I said you'd sold me on "Collateral". Apologies for any confusion.
  6. Don Berry
    It was the best movie of last year by far. Possibly Anderson's best movie after "Punch-Drunk Love", with "The Master" close to both. Leslie Manville, I mean, come on. And Alma is one of the more fascinating characters created for the screen in some time. The story is very much like the movies it's inspired by while also maintaining a bit of a fairy tale undertone and mood to it.
  7. Don Berry
    Hey everyone, I've got a Rokinon 12mm 2.8 fisheye lens I'd like to sell. It has an EF mount for Canon. It has been used twice: I bought it and used it for a few beach shots and then went away for three months, came back, and used it only once more. I'd be shipping from the wilderness in British Colombia so I can't provide an idea of a shipping fee until the buyer's location is known. My reason for selling it has nothing to do with the quality, I just have no use for such a wide angle lens currently - I have enough lenses, I need more lighting equipment so that's where the money would be going to. I'd part ways with this lens for around $525 Canadian, although that's not fixed. If anyone is interested, I can post pictures or whatever else will be of help.
  8. Don Berry
    I just want to throw in as well, just so you have some more options: Tiffen Glimmerglass. It has a particular look to it that may or may not be suited for what you're after. I'm sure others here can explain why that is better than I can.
  9. Don Berry
    Well I got extremely lucky with some searches and found a replacement for half the price. Sticking with it, although the Scandles sound tempting, very tempting. Thanks you guys for giving me suggestions.
  10. Don Berry
    That's what I'm hoping for, they're beautiful lights. I will look into the alternatives you mentioned, thank you.
  11. Don Berry
    Classic Softs would work well. I know Kaminski used them on "Funny People".
  12. Don Berry
    Just wanted to say I really enjoyed the movie and loved the look of it and found it to be one of the best movies of the previous year and sure to become a cult classic as I think it is already. Is Mr. Mullen going to be working with Anna on her new project?
  13. Don Berry
    Interesting. And thanks a lot - I'll be doing some tests this week and see what pans out.
  14. Don Berry
    Hey Robin, my apologies, I'm new to this or I would've quoted your text here instead of . . . typing that. I didn't think you were arguing either, just talking about why I should see what the Sony can really do. I'm always willing and open to change my mind on most things. "Life on Mars" - you've sold me now. Once I'm through with "Babylon Berlin" I'll give either "The Crown" or "Collateral" a shot, I appreciate the recommendations.
  15. Don Berry
    "Cafe Society" was saturated (a little too much when it came to shooting Kristen Stewart in a few shots), but "Wonder Wheel" had a bit more of a candy-coloured romanticism to it that made it look a bit more aggressive than "Cafe Society", for me, anyway. Not to knock on the movies or Storaro. As for Allen: anyone can make an allegation and the fact is only two people know the truth so I'm with you in continuing to watch his movies not only because he's made me laugh so much, but also because when he's writing well, damn is it good.
  16. Don Berry
    Sure, it could be. I try to get as much in camera as possible. I'll cite a movie for reference as I realize my question covers a broad range of movies: Max Ophuls's "Lola Montes". The colours in that are vivid but not super saturated. Naturally, a lot of that is the costumes and sets (that not many people have a budget to make/rent/buy).
  17. Don Berry
    I'm aware it's more the grading than the camera's make, I was agreeing with you that what I was probably seeing was the grading more than the Sony itself - in fact, with "Cafe Society" I didn't run into this, and I know with "Wonder Wheel" a lot more time was spent in post. My fiancé is English so watching "The Crown" hasn't been an easy sell, so I'll have to fit in when she's sleeping, if for Olivia Colman alone, but I will keep an eye on the look of it. Is "Collateral" that television show written by David Hare?
  18. Don Berry
    Which push in shots in specific? Steadicam shots are in the corridors in both LA and Hawaii, some of the scenes in Barry's apartment (I think, although there's dolly shots there, too), the fight scenes and a dolly was used for the other moving shots, if I recall correctly. This link might be of some help: http://cigsandredvines.blogspot.ca/2003/04/interview-behind-scenes-with-robert_20.html Anderson said he "watched a lot of Woody Allen romances" while writing it, so there's some references. However, as for visuals, the key references would be "The Band Wagon", "A Woman is a Woman", and several Jacques Tati movies. It's my favourite movie of all time after "Apocalypse Now" and I should be able to offer some more references once I get some sleep but I hope that helped a bit.
  19. Don Berry
    The video has a similar aesthetic to episode ten of the second season of "Atlanta". Does anyone know if he switched to film for that one episode, because it looked similar to high speed film? But I think that episode was directed by Donald Glover.
  20. Don Berry
    I haven't seen The Crown. The colours are splendid, it's just this texture that's hard to describe that I notice more on Sony still cameras. Certainly the grading played a large part and to be fair, I haven't seen much shot on a Sony that hasn't been graded quite a bit. Storaro was using his typical lens package from what I've read?
  21. Don Berry
    My mistake, but I appreciate the quick reply, thanks. Off topic, I thought I'd mention this while you're here since I'm new here: I saw you work once. You were shooting "Jennifer's Body" in Langley at the Langley Secondary School. I was an extra for a few days. Jason was there with his kid, too, but I do still remember how you'd lit a high school I knew well and made it look like a different school altogether.
  22. Don Berry
    I think some of it has to do with Sony cameras in general. They have this sort of plastic look to them and a texture that doesn't appear like any other camera I can think of. I second the opinion shooting on film would've been better, but Allen and Storaro will never turn back, at least not in their work together and, if it ever gets released, their next movie was shot the same way and from still photos I have seen from it, it looks like we're back in a similar situation regarding the make-up.
  23. Don Berry
    I love the way Rifa lights look and how quick and easy they are to use. Unfortunately, I can't afford one and I was curious to know what you'd all say would be a good replacement for cheaper?
  24. Don Berry
    I love older movies. I shoot digital. I use a Canon c100 mk ii for the time being. I shoot at 850 iso and I know a lot of cinematographers who shoot with the Arri Alexa also shoot around there. I've tested lower iso ratings with my camera and I'm never pleased - be it banding, noise, or ugly blacks. I get a nice clean image at 850. However, my backup camera is a Canon 7d and with that I can shoot as low as 100 iso, which I often do and is closer to the asa of older movies. But how can I, if it's even possible without too much post work, shoot at 850 and get close to that classic movie look? In terms of saturation and crispness? My main lens is a Zeiss Planar that helps immensely with the saturation, but it still looks closer to a higher asa film stock sans the grain.
  25. Don Berry
    Sorry to drag up an old thread and talk about diffusion again, but David, you added "Inherent Vice" to your list of movies using diffusion for the majority of the running time. It was my understanding that until "Phantom Thread", Anderson disliked filters because, as Robert Elswit said, "Paul thinks it will damage the magic of Kodak" or something to that effect whilst admitting he finally talked Paul into using an 85 on a few shots in "There Will be Blood". So my question is: what diffusion are you seeing? I have nowhere near the experience with diffusion as you do and from what I could tell I didn't see it except maybe in the scene where Doc visits Mickey Wolfman's wife and we're introduced to her "spiritual coach". I may have to see it again and pay closer attention, but the question remains, and thanks in advance.
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