Leo Anthony Vale

Color intermidate stocks also fade. & that's since they came out in the 50s. I/Ns from the early to mid-50s usually appear deep purple. So they print green. Later I/Ns,while not as startlingly purple, also print green.

That's a good one. 'Little Dieter Needs To Fly' is quite good. Little kid in a German village during WWII, the Big One, sees some allied fighters fly past his window and realizes he has to be a pilot. Eventually he emigrates to the US and becomes a navy pilot during the Vietnam war & is shot down and held prisoner in a small Viet Cong jungle camp. He and other prisoners escape through the jungle. Later Herzog made a fiction version with Christian Bale. Haven't seen that. 'Cobra Verde' is an uneven one. Klaus Kinski is an outlaw in 19th cen Brazil, gets a job as a foreman on a plantation and knocks up all of the owner's daughters. The owner gets rid of Klaus by sending him to Africa to buy slaves. Beginning is somewhat funny. Last half is more arty.

Pacific Theatres bought Cinerama Inc. in 1963 & replaced the 3 panel process with single film production and projection. 'It's a Mad, Mad, Mad, Mad World' shot in Ultra Panavision was released in 1963, though filmed in 1962. Cinerama/ Pacific Theatres did not produce it, but picked it up for release. '2001' was released in 1968, though had been shooting for a few years. the single film Cinerama was established by then. Most of the movies were shot in Ultra Panavision or Technirama. <object width="400" height="325" id="ep"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://i.cdn.turner.com/v5cache/TCM/cvp/container/mediaroom_embed.swf?context=embed&videoId=474171" /><param name="bgcolor" value="#000000" /><embed src="http://i.cdn.turner.com/v5cache/TCM/cvp/container/mediaroom_embed.swf?context=embed&videoId=474171" type="application/x-shockwave-flash" bgcolor="#000000" allowfullscreen="true" allowscriptaccess="always" width="400" height="325"></embed></object> if this clip had better resolution, you'd be able to see Kubrick reflected in the visor at 2:00

<iframe width="420" height="315" src="http://www.youtube.c...ed/3uj_RO_nqsI" frameborder="0" allowfullscreen></iframe> Time lapse with 20-30 second per frame exposures.

Let's not forget misframing in projection. As long as there's picture on the screen, who cares if it's. One of the less frequently mentioned advantages of 'Scope projection. I once saw 'They only Kill Their Masters', totally misframed. So, James Garner walks ito a vet's waiting room & asks the bartender... wait,wait! All of the animals are barking. At the top of the frame, a group of people are leaning over the top of a wall, gestureing with their hands.. my immediate reaction is 'What the hell?' Then realize they are animal trainers giving hand signals to their animactors. 'Lord Love a Duck' and 'Sleeper' were notorious for mikes at the top of the frame, when shown on TV.

Lemmings going over a cliff is a Disney hoax from 'White Wilderness', a "documentary" about Arctic wildlife. From IMDB: Did You Know? Trivia This picture was filmed in Alberta, Canada, which is not a native habitat for lemmings. They were imported from Manitoba for use in the film, and were purchased from Inuit children by the filmmakers. The Arctic rodents were placed on a snow-covered turntable and filmed from various angles to produce a "migration" sequence; afterwords, the helpless creatures were transported to a cliff overlooking a river and herded into the water. The entire sequence was faked using a handful of lemmings deceptively photographed to create the illusion of a large herd of migrating creatures. It was this film that perpetuated the myth in popular culture of lemming suicide, something that's never been reported to have occurred in real life.See more » Goofs Factual errors: Contrary to popular belief repeated in this film, lemmings do not commit suicide en masse by jumping off cliffs into the sea. However cyclical population explosions do induce lemmings to migrate to unfamiliar territory where they are crowded and prone to accidents such as falling off cliffs or drowning but these are not considered suicide in any sense. See more » http://www.imdb.com/...ref_=fn_al_tt_1 Incidentally, I have no problem with stereo photography & movies. I used to take 3D stills, but it wound up being too expensive, the lab charges the for an unmounted roll of slide film are the same as for a mounted roll, half as many pictures per roll & the cost of the slide mounts. Not to mention having to mount them. The deal with stereo is not poking things out of the screen, but rather the space behind the screen-the Z-axis. & free viewing stereo pairs is quite meditative. & the proper format for a Civil War movie would be B/W stereo. ,

Elizabeth turned England into a police state with secret police spying on everyone to ferret out Papists. Goddamn Protestants. http://www.bbc.co.uk/history/british/tudors/spying_01.shtml http://www.amazon.com/The-Watchers-Secret-History-Elizabeth/dp/1608190099

These prices are from 1975 Mitchell Camerea price lists: B&L SUPER BALTAR LENSES IN BNCR MOUNTS: 20mm T3.0 $1,659 25mm T2.3 1,805 35mm T3.5 1,445 50mm T2.3 1,330 75mm T2.3 835 100mm T2.3 980 KOWA CINE PROMINAR LENSES IN BNCR MOUNTS: 15mm T3.5 1,120 20mm T2.6 710 25mm T2.3 630 32mm T2.3 535 50mm T2.3 480 75mm T2.3 500 100mm T2.6 605 MITCHELL HI-SREED LENSES BNCR MOUNT: 28mm T1.8 35mm T1.3 55mm T1.1 85MM T1.7 Set of four lense 7,975 From an October 1, 1983 Cinema Products price list: Canon High Speed Aspheric lenses: 18mm T1.6 5500 24mm T1.4 3850 35mm T1.4 3850 55mm T1.4 2860 85mm T1.4 2860

No. In November the Mayan banks will mail out new calenders to their customers. That'll be rough on the UPS delivery men.

Oh, yeah. My full frame VHS tape of 'The Searchers' clearly shows that. from the WidescreenMuseum: VistaVision's Aspect Ratio Let's Kill The Fallacy You can read all over the Internet, in magazines, and even on the backs of DVD cases that VistaVision's aspect ratio was 1.66:1. Well, it ain't so. Prior to the introduction of VistaVision, Paramount Pictures promoted the 1.66:1 aspect ratio as THE ideal shape for movies. But when VistaVision came into being they quickly changed their tune and strongly supported a ratio of 1.85:1. Their framing guide, (see bottom of this page), made provision for showing films at 1.66:1, 1.85:1 and 2:1. For struggling theatres Paramount felt that they could use 1.66:1 and not need to spend a huge amount of money installing a new screen and having major achitectural changes to their prosceniums. For theatres that had put in big screens for CinemaScope, Paramount felt that the Technicolor print could hold up to being cropped to an aspect ratio of 2:1, though it was not a recommendation. It was good old 1.85:1, the same shape that the other studios were quickly adopting for their cropped wide screen films that Paramount recommended for VistaVision. And compared to your run of the mill cropped wide screen image, VistaVision just blew them away. In Europe, where 1.66:1 was a much more commonly used ratio for cropped wide screen, VistaVision was still recommended to be shown at 1.85:1. The Rank Organisation, the Eastern hemisphere's promoter of VV, even developed an anamorphic print that had a 1.85:1 ratio. So don't go believing the junk on the back of those DVD boxes. http://www.widescreenmuseum.com/widescreen/wingvv1.htm

Not everyone is good at or even able to strike up conversations with strangers.

Check out "The libertine". Night interiors were lit with candles. The orange cast was timed out in the print, resulting in odd blues and ivory flesh tones & making it look like some 1930 two color system. The extras show and discuss the candle lit scenes. There the colors are normal. Also shown is a fill unit called a birthday cake which is a bank of candles with a white reflector behind them. THE TRAILER: http://www.youtube.com/watch?v=H2t2KvVp6sM The colors seem normal here. Here is the half hour 'the filming of...' : http://www.youtube.com/watch?v=D9tB-XIx4sg

Good one David. That was one of the reasons i gave up on MTV. Well the other wasa they didn't play Kate Bush often enough.

i was watching a library dvd of Hammer's "To the Devil a Daughter". (Why rent when one can get it from the public library?) In the extras, Watkin mentions that while setting up a shot, Richard Widmark asks where nis his key, Watkin says he doesn't use a key, to which Widmark says he does and walked off.

Nitrate film had more silver. This really shows up in prints. The xenon bulbs didn't appear for decades after the introduction of acetate prints. At the same time as nitrate stock was discontinued, the amount of silver in film was lessened. The means of determining ASA was changed, resulting in a slight increase in speed. Xenons seem more purple than arcs. There might be a difference between the nitrate and acetate bases, but the big difference was between the amounts of silver in the3 prints and negatives. I suspects this also extends to Technicolor negatives.

When they're off the ramp, one can see Stanley and the camera reflected in the visor on an astronaut's helmet. He also shot the flying bone shots, hand held.

Here's a May 1960 article from AC & posted in the Lobby section of the WideScreen Museum: http://www.widescreenmuseum.com/widescreen/panavisn.htm It's a progress report of new Panavision equipment, mostly 65mm. "Still another (and perhaps the most revolutionary) 65mm camera model produced by Panavision is a hand held model with a hand-grip and form-fitting shoulder support. Carrying a 500 foot magazine, it is extremely compact in design. The camera with magazine and motor weights a mere 24 lbs. The motor operates from a lightweight wet or dry-cell battery pack. While the most interesting feature of the camera is that it actually can he hand-held, producing a steady image under the most difficult conditions-its greatest advantage to the cameraman is that its extreme light weight and compact size permit it to be quickly set up in positions where other cameras could not be used. Let us consider, for example, a scene that must be shot from an almost inaccessible spot-like the top of a tree or telephone pole, the mast of a ship, or the front of a small rowboat. To shoot such a scene, even in 35mm, with a camera of the NC type would require a great deal of time spent in rigging and in many cases the shot could not be made at all. The small portable 65mm Panavision camera can either be carried up to the remote vantage point and handheld by the operator, or it can be quickly- mounted with a clamp and tripod socket. It permits easy shooting in 65mm from cars and other moving vehicles and can be quickly rigged for automatic shooting by means of remote switches. When not actually used as a hand-held camera, the pistol-grip and curved shoulderbrace are readily detachable so the camera can be mounted on a tripod like any standard studio camera. All three of the new Panavision 65mm cameras are being used for the first time in photographing Otto Preminger's production of "Exodus", which is currently shooting on location in Israel. To complement the new cameras the company has created a whole new series of lightweight anamorphic and spherical lenses, the new widest angle lens having an undistorted angular field of well over 100 degrees." These 1960 hand held cameras were not reflex. 1968 might be when the reflex versions came out.

it's a boar. The legs are too thin to be a rhino & the "horn" is too small, it's tusks. Freya has the 1st, 3rd & last letter right. & John, thanks for the birthday greeting.

There is no formula. Rotating the focus ring is a mechanical function, not an optical function. The amount of rotation varies from one lens design to another. There is no standard.

quote name='Paul Bartok' timestamp='1342468132' post='374117'] Whoops, I was under the assumption that it was, does anybody know what cameras they used then, It was developed by Technicolor: http://www.imdb.com/title/tt0047396/technical This is what Wikipedia said: "The film was shot entirely at Paramount studios, including an enormous set on one of the soundstages, and filmed in Technicolor." ??? Production stills show a Mitchell BNC. So it was Eastman color. I understand that all of the original RPs were printed off of the OCN (orig. color neg.) But Technicolor did make the eastman color prints. Which they also did with 'The Robe', also advertised as being in Technicolor. Pathe labs sued TC for crediting and advertising eastman color as Technicolor, even Pathecolor was Eastman color. I never found how the suit went. I suspect Pathe lost. Hitchcock thought that the Technicolor prints of that time were too soft. Though TC did come up with a sharper IB matrix system to deal with larger screens and wide screen.

Russia has had specialty stereo theatres since the mid 40s. & probably the best stereo film system, Stereo 70, a super 35 sized stereo pair in a 70mm frame.

When I was in LA, DP was the principle term with an occasional cameraman. I found this funny, since where I was raised a DP was a displaced person.

One of the most famous and iconic matte shots in movie history, and one that Kosa will always be remembered for, as he died shortly after this film was finished. At top left is the original art directors conceptual drawing of the big reveal, with other photos showing the original location plate and William Creber with the final effect composite. The one failing of this shot is the awful, grainy, 'mechanised' optical printer zoom out which mars the effect considerably. from: http://nzpetesmatteshot.blogspot.com/search/label/L.B%20Abbott?updated-max=2011-10-02T19:36:00%2B13:00&max-results=20&start=1&by-date=false Sam Fuller used optical zooms alot. Not for actual zooms, pulling out close ups. One I pparticulary recall is 'Run of the Arrow' in Suerscope and color with Rod steiger trying to pull a southern accent. Those optical close ups were grainy. 'Unknown World' also used optical CUs inside the boring machine. Irving Block and Jack Rabin produced the movie in addition to doing the efffects. Needless to say, it was a cheapie.

YOU FORGOT THE SCORE.

What about all those damn long lens shots? Ridley's an offender too. But Tony's the worse of the two.