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Spielberg screwed up. He should have put in some of his first films in the Fabelmans movie. No better place for it than in the special features. I'm thinking he may have embellished what he did as a kid as he had shown in the Fabelmans and could not backtrack. But just guessing. Or maybe he didn't think of it for its archival potential. Whatever the reason, I would have loved to have seen his early work as a kid. <><><><> Selection from Master Collection of US Paper Money / eBay Archive DDTJRAC Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Is this a battery or sound recorder on the Arri? Photographs of TV screen <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography

Surprised to see no one talking about it. This is a new show by The Duffer Brothers (who directed an indie thriller Hidden, and wrote a couple of episodes of the first season of Wayward Pines) on Netflix. It starts Winona Ryder, David Harbour (who's everywhere these days ^^), Matthew Modine and a bunch of wonderful kid actors y'all be hearing about soon enough. It's set in the 80's, and basically, it's a mashup of everything you love if you're into that stuff, meaning it has elements of sci-fi mode Spielberg, ala E.T, Super 8, Stephen King, you got a group of kids, one of them disappearing, a weird girl in a hospital gown that runs into them and is special, you got the kids on bikes, you got the heavy sci-fi element, the mystery element, the supernatural element, the great soundtrack with a heavy synth score, wonderful cinematography and you get a not to miss show. Tim Ives (Mr Robot pilot) shot the hell out of it, it's basically a series that looks like it cost much more than it probably did, extremely high production values, fantastic cinematography, shot on Red Dragon and Leica lenses (confirmed to me by Tim Ives). Binge it, embrace it, love it.

Hey everybody. This is my first post :) I wanted to get everyone's opinion on the lighting for this scene, and how Janusz Kaminski may have accomplished it.

Bridge Of Spies Trailer IMDB Link http://www.imdb.com/title/tt3682448/ "During the Cold War, an American lawyer is recruited to defend an arrested Soviet spy in court, and then help the CIA facilitate an exchange of the spy for the Soviet captured American U2 spy plane pilot, Francis Gary Powers." Director Steven Spielberg Cinematographer Janusz Kaminski Written by the Coen Brothers and Matt Charman, Spielberg brings us a great movie where he shows, again, the reasons why he is one of the greatest storytellers nowadays. The first act of the movie could be considered a little bit slow in the way that it is kind of vague but once the movie enters the second act, it finds the flow. I personally think that the whole movie is perfect as I like "lawyers" movies a lot and it reminded me a bit of "Zodiac", directed by David Fincher in its tone. The actors are absolutely great as in every single movie that Spielberg has directed and Kaminski shines completely through Tom Hanks' journey. Regarding Bridge Of Spies' cinematography, I have to say that some moments in the movie were very similar to "J. Edgard", photographed by Tom Stern and as I enjoyed that movie loads, it was something extra to add to the visual enjoyment! :) Ah! I almost forgot, the Hawks have not been used as well as Kaminski used them in this movie ever. Amazing use of the wide lenses in some moments. It was a pity not to see David Devlin's name on the credits though! :) Have a good day.

Today I saw TCM's digitally restored version of Jaws in Sony 4K and I have to say it looked (and sounded) amazing. Considering this was the first time I'd ever seen it on the big screen, it was a great cinematic experience. I'd actually only seen it presented in widescreen very few times. Most of the times I watched it was during the days of panning & scanning. The colors were extremely vivid, the picture was crisp and the sound truly heightened the experience. I actually jumped at one scene and I've seen the film countless times. The film grain was evident but in a way that simply said it was shot on film. Only a few scenes looked a tad noisy, as if they had been pushed - namely the scene when Hooper stops by Brody's house for dinner as well the night scenes following that when the two of them are out at sea. But if it was shot on 100ASA film as IMDb says, the clarity of the picture is a testament to Bill Butler, ASC and the digital restoration team. Again, it was great to see in widescreen because the compositions made so much more sense this time around. Kind of like seeing a whole new film. Wonderful photography by Butler. There are a few new inserts thrown in there, too. So 4K gets a thumbs up from me...especially for restored classics like this.