Ignacio Aguilar

I have already re-watched "Moonraker" on iTunes 4K (non HDR) and it looks great. Very crisp and sharp throughout, with zero diffusion. The model effects have exceptional quality & clarity, it's rather obvious that the stuff mostly comes from original negative rather than optical printing (maybe the laser effects are the exception to the rule, but there are so many onscreen elements during those that it's hard to tell just looking at the film). The brazilian scenes look the best, with some great exterior photography (although the cable raiway scenes could have had better front projection effects, as the plates look very washed out). Lois Chiles and the other Bond girls are very well lit as David said. And I liked too the way the bunker in the jungle was handled, that Ken Adam set must have been very difficult to light as there are no places to hide the fixtures. But there are several flatly lit scenes (those with "M" stand out) and a very old fashioned approach with hard lights here and there, completely unmotivated. I also think that the accelerated shots during the editing don't help much either.

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Thanks Steven, I'm very glad that you've liked it.

My feature film debut as a director of photography is a Spanish comedy-horror film, "La Pasajera" or "The Passenger". It has been directed by a talented duo: Raúl Cerezo, with whom I had worked several times before, and Fernando González Gómez, who had previously directed an Austin Film Fest winner, "Estandar" (2020). We had a wonderful cast (Ramiro Blas, Paula Gallego, Cristina Alcázar and mexican actress Cecilia Suárez) and crew which made me very confortable during the six-week shoot. We shot it single camera with a Red Ranger Gemini 5K and the Atlas Orion Anamorphics. Here's a link to the teaser trailer, which has English subs. A full trailer will follow soon. I'll post it as soon as it becomes available. VIMEO TEASER The film will have its premiere on October 9th on Sitges International Film Festival and should have a theatrical release in a few months. VARIETY already covered the release: https://variety.com/2021/film/global...or-1235080184/ Any comments will be appreciated!

I have yet to see "Moonraker" in 4K, but I believe it's not in HDR, just UHD. I've seen "ALIEN" and haven't noticed any problem with that movie, but I must confess that at this point I don't like HDR at all and I just prefer to watch any content in SDR.

There are aiming more than ever to owner-operators, not to say fanboys. Even it may have some cool features, there's no way a real professional shoot can use a camera that has been configured like this one.

“Moonraker” is for sure the best looking movie shot by Jean Tournier that I’ve seen, even though I think John Frankenheimer’s “The Train” (shared credit with Walter Wottitz, who had just won an Oscar for “The Longest Day”) is a very stimulating and nice looking black and white picture, and a personal favourite of mine. I also like a lot Fred Zinnemann’s “The Day of the Jackal” (I mean, the movie) but Tournier’s color lighting is very flat in many scenes, with unwanted shadows on the walls, etc. Unremarkable, lit for exposure, so-so focus (mostly on zooms) even though from time to time there’s a moody low-key scene that seemed to come from another movie. I have a hard time believing how poor is the photography of that great film and how nobody complained about it on rushes or something, as it’s so much below the quality of the directing, script and even the acting. Easily one of the less inspired “great films” that I’ve ever seen in terms of lighting, at least in my opinion. I seem to recall that Lois Chiles in “Moonraker” was lit in a very similar way to what Clade Renoir did on “The Spy Who Loved Me”, but I’d have to check (“The Spy Who Loved Me” doesn’t have a gaffer credit on IMDB, but “Moonraker” had a french gaffer who had worked previously with Claude Renoir on “The French Connection II” so, maybe, there was indeed a “connection”). Of course, having some nice locations, lots of money, a great crew and Ken Adam’s sets always help to have a better look… I remember “Moonraker” as an overall extremely silly picture (so silly in fact that it makes “The Spy Who Loved Me” as serious as a John Le Carré novel), but with incredible miniatures and effects and, of course, the famous sky diving opening scene shot in 35mm anamorphic. Maybe I’d give it another try in 4K too!

Sorry to resurrect such an old thread, but I got to see "The Spy Who Loved Me" in 4K (iTunes) and don't want to start a new one. In my opinion it holds up quite well and it's the best Bond film on which Roger Moore starred. The movie was mostly shot apparently with a Panavision front anamorphic zoom, not primes, and it must be the very rare "Panafocal" lens that I have seen in old catalogues (there were two versions, both T4.0, I think they were a 45-90mm and a 50-95mm or something like that), as I don't think Panavision had other anamorphic zooms at the time that were not rear converted (that's why the don't behave at all as true anamorphics). This lens was also used later in "Moonraker" (1979) and had been used prior to that on "Chinatown" by John A. Alonzo, who might have used it as well on "Black Sunday" (1977) and "The Cheap Detective" (1978) among others. Does anyone know something about this particular lens or has seen it? It performs (or performed) quite well and seems to match the C-Series primes and thus, is intriguing. Speaking about the cinematography, there's one thing that surprised me a lot. I have never seen the movie in 35mm and I think that I saw the Blu-ray, but this time I realized that most if not all of the night scene set at the pyramids and the sphinx is all miniatures, double exposures and optically composited shots. Pretty amazing stuff that blends really well with the first unit on set coloured lighting effects. Obviously the tanker at the end of the movie is a model, and a very good one indeed, but that was easy to spot. Claude Renoir did a very good job with the movie. It's too bad he couldn't do "Moonraker" as expected. "The Spy Who Loved Me" is a great mixture of classic lighting techniques (have a look at Barbara Bach's portraits, mostly hard lit with some on lens diffusion) but also very nice location shooting taking advantage of available light (in Egypt for instance) and the right amount of fill. It seems to be true that Stanley Kubrick suggested how to light the inside the tanker scenes at the end due to Renoir's failing eyesight, but also, to be honest, these gigantic sets by Ken Adam weren't the easiest, specially you have to light them for something like a T5.6 at 100 ASA.

Bump

And they look extremely similar to my Super Baltars in terms of flare and veiling: Super Baltar Test

Most vintage glass is really expensive to rent these days, so I would go to Kowas directly if I wanted to imitate them. Kowa Cine Prominars are kinda unique because most vintage lenses tend to a yellow or warm bias, but Kowas are very cool in color rendition. They also have very nice green & golden flares. As the previous poster said, their optical design is similar to Super Baltars, but the SB are very warm and have blue flares instead. Perhaps the Kowas are indeed a bit lower in contrast than Super Baltars, which already are pretty low-con. The Super Baltars have a very round iris though, similar to that of Panavision Primos, while some Kowas have an octogonal iris that resembles a lot the bokeh of Cooke S4's. The cool bias of Kowas can be achieved easily these days in a digital grade, either using Super Baltars, Cookes, Canon K35's or even rehoused stills glass such as FDs, and 1960's or 1970's Nikons or Leica R's. Any of these sets should provide the look of the trailer, in terms of texture, contrast, etc. as I don't see any specific Kowa characteristic on it. If you were looking for the flares, the closest thing I've seen is the Canon FL (pre FD) stills glass from the 60's, which has very similar coatings to Kowas. But you'll have a very hard time finding a cine set of Canon FL's, if there's a complete one.

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