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Found 10 results

  1. According to the article "The Steadicam and "The Shining" (American Cinematographer - August 1980) Garett Brows says : "To annoy him we would indicate the forest of TV antennas aimed at the studio from suburban Borehamwood and imply that the TV signal was escaping the sound stage and being watched by a gaggle of “Monty Python” women every morning: “Ooooh, poor Mr Brown!… That take seemed perfectly good to me!” Somewhat later, our imitation ladies got even more sophisticated: “Ooh, must be the 24mm Distagon!, see how it’s vignetting in the viewfinder!” I was thinkking if that "24mm Dista
  2. According to Larry Smith's interview on American Cinematographer : Kubrick framed Eyes Wide Shut in the standard 1.85:1 format, primarily using a set of Zeiss Superspeed T1.3 spherical prime lenses, but occasionally opting to employ Arri’s T2.1 variable prime lenses or a zoom. (...) The results of the two-stop force-development are clearly evident in the film’s FIRST major setpiece (...) The scene was lit almost entirely with a huge wall of ordinary Christmas lights (...) " They were very low-wattage (...) The effect is obviously enhanced by the force-developing, which made the lights ap
  3. Hello .. Can anyone identify what zoom lenses are ?? I'm pretty sure the one from 'The Shining' it's Cooke Varotal 20-100mm T3 But what about the other's ?? Thanks again !!
  4. Dear Forum, Stanley Kubrick is a director whom I have admired for as long as I can recall. His innovations to filmmaking are innumerable and in his wake has inspired several contingents of new filmmakers to push the limits in terms of conventions. Anyway, it was yesterday when I rewatched The Shining that a particular question came to my mind - his lighting techniques. I know that Kubricks use of practical lighting was quite groundbreaking, but how much did he actually rely on them to light the entire set (excluding the use of large daylight fixtures for interior day scenes)? Kubrick e
  5. Has anyone seen the 1969 version of this movie? I'm quite curious about it but obviously it's not very available. :( Freya
  6. I just watched this video and tought about the story on Kubrick and the candlelit scenes on "Barry Lyndon". What would he be doing with today's cameras and lenses? Of course cinematographers aren't using f0.7 lenses on day to day basis but, for example, Master Primes and Cooke 5 are pretty bright and camera ISO technology are advancing everyday. With a camera capable of a base ISO 5000 and a Master Prime on T1.3 candlelit scenes would be just the start on the cinematography crative process. What do you think?
  7. I'm sure some of you are aware of this very interesting article: http://www.studiodaily.com/2014/01/dp-andrew-shulkind-on-demoing-kubricks-f0-7-lens-kit/ And here is the link to the Kubrick Collection: http://www.kubrickcollection.com/camera-package.html
  8. Does anyone have any information on the range of focal lengths Kubrick used for A Clockwork Orange, Full Metal Jacket, The Shining, and Eyes Wide Shut? What sort of focal length did Kubrick use for close-ups? Thanks
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