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Miguel Roman

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About Miguel Roman

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    Student
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    Amsterdam

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  1. You are welcome Robin, I will definitely check that podcast that you mention!
  2. @Robin R Probyn Hello Robin, I found an interview of your father and I thought you might be interested in reading it; it was published on 1975, in the magazine Cinema Papers. I am posting the link to the entire magazine, the interview appears in the pages 73, 74 and 75. https://issuu.com/libuow/docs/cinemapaper1975marno000/79
  3. Hello! I would like to know more about Kodak's Dye Layering Technology, which is something I read in one of the Technical Data sheets from Kodak Vision3 500T 5219: The proprietary, advanced Dye Layering Technology (DLT) provides noticeably reduced grain in shadows, allowing you to pull out an amazing amount of shadow detail. Could anyone explain a little more about about how does this layering technology work? Why does this DLT allow the film to perform better in the shadows? I have not been able to find info on this... Thanks!
  4. The other interview, which can be found in the same book of Maher's, it's an interview conducted by Michel Ciment for the magazine Positif in 1975, but there is no direct reference to your father on that one.
  5. This last sentence about the soft technique comes from a transcript of a master class “A Master Class with Terrence Malick” at the AFI, in 1976. It can be found in a book called All Things Shinning: An oral history of the films of Terrence Malick (Paul Maher Jr., 2017). I only have the physical book, so I can not link it; but besides that sentence there is only a few references to your father: He is an excellent cameraman. I mean, he is a sort of pioneer in soft 'light technique, and I had always admired his work. IT was difficult. I mean, he is 55 years old or so, and I was just a kid. A
  6. About the choice of your father as cinematographer, Malick says “He is an excellent cameraman. I mean, he is a sort of pioneer in soft 'light technique, and I had always admired his work.” So I guess that combined with the documentary background would make him quite an ideal candidate for an independent shooting like Badlands. Please let us know if your brother can find the slides!
  7. It does look like the tree's own shade...but when I look at the sky on the background I can see a difference in the contrast of the top of the image and the middle of the frame, as well as the right grey post at the edge of the frame...
  8. That's quite interesting! About the over exposing in Badlands, in one of his rare interviews Malick says “I overexposed the negative and then printed it with very low contrast, so that even in exterior shots with natural light the characters never need to be lighted by reflectors.” So I guess that's why he wasn't using that much artificial light, although depending on the shots (and therefore, depending on who of the three dps shot them) it can clearly be seen the use of lights. And as you said, Spacek ended up marrying Jack Fisk, the art director in Badlands and most of Malick's films, some o
  9. Those are great answers! Much appreciated!! I was also wondering about what filters might have been used on the lenses; in Badlands there is one shot in particular where I personally believe a ND grad filter was used, and I would like to ask your opinion on it:
  10. Hi everyone, I am trying to find out what lenses were used in the shooting of Terrence Malick's Badlands, but there seems to be no info available on this topic. I just know that three cameras were used during the production: Mitchell Bncr, Cameflex, and Arriflex. Badlands was shot in 1972, does anyone know what lenses were common for any of this cameras around that time, specially for the Mitchell? Thanks!
  11. Thank you for your answer Stuart; I read that, in the time when celluloid was the norm, there was an optical step at the end of the answer-print process that could decrease slightly the quality of an image shot in super 35. Do you know if this was always the case? I guess with digital there is no such a problem anymore...
  12. Hi everybody, I have a question related to the film To the Wonder by Terrence Malick. In an interview for the American Cinematographer magazine, director of photography Emmanuel Lubezki says that for “To the Wonder we did some tests and decided on the compromise of going 2.35 but shooting spherical— partly because I really, really love the sharp, clean Master Primes. We also went with spherical because we were shooting in a lot of houses.” Since Lubezki speaks about the 'compromise' of going 2.35 but shooting spherical, my question is: does that mean that they shot super 35 and the
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