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  1. Pawnbroker (1964) Nude Flashback Clip D.D.Teoli Jr. A.C. : D.D.Teoli Jr. A.C. : Free Download, Borrow, and Streaming : Internet Archive NSFW Customer asks for more money from the pawnbroker (Rod Steiger) and show off her breasts and offer sex for the money. Clip also shows nudity in the flashbacks to the German concertation camp in WW2. One of the earliest box office films to show nudity. Looks to be #2 on the nudity film list. Wikipedia: The distinction of being the first mainstream American actress to appear nude in a starring role went to actress Jayne Mansfield in the 1963 film Promises! Promises!, though her pubic area is never visible on film. The film was banned in Cleveland and some other cities, though later the Cleveland court decided the nude scenes in the film were not lewd. Both the original and an edited version enjoyed box office success elsewhere. As a result of the film's success, Mansfield landed on the Top 10 list of Box Office Attractions for that year. However, Chicago Sun-Times movie critic Roger Ebert wrote, "Finally in Promises! Promises! she does what no Hollywood star ever does except in desperation. She does a nudie. In 1963, that kind of box office appeal was all she had left." Mansfield's autobiographical book Jayne Mansfield's Wild, Wild World—which she co-wrote with Mickey Hargitay—was published directly after the release of the film. It contains 32 pages of black-and-white photographs from the movie printed on glossy paper. Photographs of a naked Mansfield on the set were published in the June 1963 edition of Playboy. The Pawnbroker, released in 1964, breached the Motion Picture Production Code with actresses Linda Geiser and Thelma Oliver (who later became the mystic and yoga teacher Krishna Kaur Khalsa) fully exposing their breasts. Allied Artists refused to cut the film and released it to theaters without a Production Code seal. The nudity resulted in a backlash from moral and religious conservatives, including the Catholic Legion (which by that time had become a virtually powerless fringe organization). However, critical and overall public response was positive, and many Catholics rebuked the Legion's condemnation of the film. The National Council of Churches even gave the movie an award for Best Picture of the Year. Some of the flashbacks are too fast for my liking. But would have to see them in slightly longer time to tell what works best. You have to test these things out. Very easy with digital, not so easy with film. <><><><> 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
  2. Note: I removed 2 small ads at bottom and 1 at top is desaturated Photo is from magazine ad suggesting the person may be robbed when making a bank deposit after exiting back door in the alley. Dutch Angle does a good job adding tension to the scene. Article on Dutch Angle: https://www.videomaker.com/how-to/shooting/the-dutch-angle-what-it-is-and-how-to-use-it/?
  3. Hi, everyone! Gonna be shooting a film with a look rooted in Jazz photography from the likes of William Claxton, Dennis Stock and others known for the marvelous images they created around that beautiful genre. Obviously, the film's aesthetic's going to borrow a hell of a lot from these great photographers... However, what I'm most interested in is the B&W film stocks that were around the time in which the most iconic artists were photographed: the 1950s. So, on the one hand, what I'm wondering is if there's anyone in the room with an idea about the the rolls of B&W film available at that time and their characteristics. But on the other hand, I'd like to know if anyone knows where can I find information on the way these photograpers worked, which is to say the lenses and equipment they used, the way they developed their film and created they final shot in the darkroom, etc. Also welcome is information on the film stocks used to shoot movies or documentaries around the 50s. My guess is even at that time Double-X was the real deal, but... You know. A guess is a guess.
  4. I've been experimenting with B&W reversal developing recently using some DIY chemicals and I was wondering about the clearing bath. What exactly does it do? I've heard that it prevents your film from having a yellow cast (a problem I've been encountering), but how exactly does it do that? Where is the yellow coming from? Is it silver oxide? I've heard about three different clearing bath chemicals, sodium sulphite, sodium metabisulphite and potassium metabisulphite. Do they all do the the same thing or does it depend on which bleach you use?
  5. Hi, I've worked mainly 7222 with self processing(D76/Dektol), now I wonder what type of film can be used for print stock. I've read from the list of motion film, Kodak 7202/7203 is used for BW print stock. But when I check from resellers 7202 is colour negative film. So I am bit confused now, is anyone could recommend suitable print stock for projection? What I want to try here exactly is, I want to make positive duplicate from my negative which is possible to project. I guess slower film(lower ISO) would fit for duplication and control the contrast, it seems really hard to find proper one in Europe. Any advice would be appreciated. Thanks.
  6. "The Captain" - 2017 (German: Der Hauptmann) Directed by Robert Schwentke. Shot by Florian Ballhaus, son of Michael Ballhaus. ... Great (end of) war movie. Tense, ironic, a lot of WTF's... (pardon my language) Even based on a real story! :) ... "SCHNELL-GERICHT HEROLD" = "QUICK-JUSTICE HEROLD" ? - You'll get it when you watch it. And keep watching it while the credits roll :)
  7. Hi, I am planning on shooting a short film on my Bolex B8. It takes double run 8mm film. I want to shoot in black and white (film stock I can find for my camera includes Fomapan reversal 100, Fomapan negative 100, and Fomapan negative T200). I am relatively new to shooting on 8mm and I was wondering if anyone had any tips for me, especially in regards to the best way to light for B/W 8mm? I hope to get as sharp an image possible, I understand that shooting at a higher aperture will help, and that using newer lenses will also help (although I do not plan on purchasing new lenses). I love high contrast images but I am not sure how well I will be able to achieve this with 8mm. Is there anything in particular I should keep in mind when I am lighting? Is one of the film stocks I mentioned better to use than the others? Any advice will be greatly appreciated! Thank you!
  8. Great news for film enthusiasts in Australiasia! Archives New Zealand has reached a deal with Park Road Post Production to take ownership of all film laboratory equipment and set up a new film processing laboratory here in Wellington, New Zealand! This has been approved by the NZ government and is to serve Archives in finishing all their restoration needs in the coming years, but also to provide processing for public use. The Archives are taking the ECN and both B+W Neg and Pos machines (No ECP), a number of printers, cleaners etc. This will be a full service laboratory, employing most of the same people from Park Road. Slated to open around the end of October/start of December 2013. If you have any questions, I'll be glad to try and answer. Cheers, Chris. http://www.stuff.co.nz/entertainment/film/8851876/Lab-deal-gives-rare-Kiwi-films-new-life
  9. Hello group, Just got a 100ft roll of 16mm 1R Eastman 7222 Double-X neg stock. The label states "© 2002". Also bought supposedly fresh Double-X stock very recently and the label says "© 2009". Q 1: anyone know what's the deal with the dates (same with Ektachrome 100D BTW)? Q 2: should I compensate for sensitivity loss with the 2002 Double-X stock? I know that overexposing Double-X is bad - not like current Kodak color neg at all. Love the classic look of Double-X with its typical 'vintage' grain pattern ranging from shadows all the way up to highlights. Any reply/tips very highly appreciated. Christian
  10. Struggling to find any information online about grading a 16mm black and white transfer. I have done grading work but would love some tips on grading 16mm transfer specifically black and white. Any resources would be appreciated.
  11. My first ever short film just released, my first time being a cinematographer. Shot on a single Canon 550D (T2i) DSLR with most shots using a Canon 50mm f1.8 lens at f5.6 and some wide shots using the Canon 18-55mm f3.5 at f5.6. Lighting wise, I used 3 800 watt tungsten halogen red heads and 1 5600k LED on some medium-close up shots. I cut out shapes to use as cookies and shape the light with some flags. It was a zero budget film, all locations were due to good contacts in the local area. I'm no expert, never went to film school or anything, I just need some opinions from the masters. The critics seem to praise the cinematography more than the actual film but obviously there isn't much reason as to why other than that it looks pleasing to them and not look like a amateurly done flick. We're all young filmmakers aged 18-21, trying to do what we love doing in our spare time whilst having days jobs to pay the bills. Main film IMDB Featurette Website
  12. I know it's traditional to have use colour lenses on the camera for B&W photography, but can you also use filters on the lights in the same way? Perhaps just to make a part of the frame look a certain way, or is it just better to use grads for something like that? Also given this will probably not stay on topic anyway... does anyone have any other tips for shooting B&W?
  13. Hi cinema lovers, I've been a lurker on these forms for a while now, and I'm not sure if this is the right place, but but this is my first post! I'm a 3rd year film student at Falmouth University (UK) and I'm directing a short film called Philistine. I'm here to both share with you my kickstarter and receive any valuable information/tips on shooting with film (it's my first time). We'll be shooting on a Bolex H16, using Kodak 16mm Double X Black & White Negative (7222). It's Tungsten 200 and Daylight 250. SYNOPSIS: Cinema projectionist Marcelle works for an independent, arthouse, and old-school cinema. Though, the theatre is forced to close and he’s made redundant; the digital age has no use for disciples of the past. Down on his luck, his fate is bettered after an encounter with a young woman, Anna. His optimism is short-lived, though, and he becomes the victim of a different kind... On the surface Philistine is about a cinema projectionist who loses his job, but deeper down it's a film about film, cinema history, and a respect for the past. My viewpoint is that we, the younger generations, are becoming detached from the history of cinema - which I feel is a bad thing. Although the topic is dramatic, and when written "loses his job" sounds like a cliche student drama, the narrative and stylistic approach is absurd, abstract, playful, comical and shocking. As I'm posting on a cinematography forum comprised of cinema lovers, I assume it may mean something to you when I say that both the writing and directing of Philistine have taken heavy inspiration from the work of the French New Wave. For those that aren't familiar, their stance was particularly anti-Hollywood, and so they would make their films in the most rogue fashion possible; both in terms of narrative and technical approach. This is something I too believe in. I also feel as if many student films are the same (partly down to the use of the same cameras and partly down to their pursuit of replicating formulaic narrative and stylistic hollywood standards) and so with this film, and anything I create in general, I tried to stray as far from the 'norm' as possible. I hope that people see that in the kickstarter. 16MM FILM: The choice to shoot on 16mm was there from (almost) the very beginning. Following from the birth of the concept - old-school celluloid cinema projectionist being ousted by the digital - I knew that it would be hypocritical of me not to shoot on film. It's a film about film and the impact that the easily accessible digital has on it. And so, not only does film LOOK beautiful, it serves the story. I flirted with the thought for a while until I saw a 16mm film that my tutor had made and was promoting. After research I gathered some figures to see if this dream was actually possible; and it is, though I can't do it on my own. What's more, after seeing the 'Kodak deal' go down in February of this year ("Disney, Fox, Paramount, Sony, NBC Universal and Warner Bros all pledge to continue buying filmstock from the company, even as the majority of directors and cinemas choose to go digital"), I feel now more than ever it is important that we, the younger generations, keep film alive. BUDGET: The proposed budget for the kickstarter is £2000. Film costs (stock, camera, development) comes to just over half of that at £1100. Now, film in the digital age is of course an aesthetic choice, and we could easily just use a RED digital camera, but I hope those of you reading do see the reason for and passion behind the use of film for Philistine. The camera rental company and developing lab are extremely enthusiastic about my choice to shoot on film and are really helpful in answering questions and teaching us and taking us through the process. If any of you like the sound of my film and could spare some change towards it we'd be forever grateful; we have a lot of money to make in short amount of time and so every little helps! All feedback is welcome and thanks for your time! KODAK DEAL ARTICLE: http://www.theguardian.com/film/2015/feb/05/film-studios-kodak-deal KICKSTARTER: https://www.kickstarter.com/projects/sophiehurry/philistine-16mm-short-film?ref=video FACEBOOK:https://www.facebook.com/PhilistineFilm/?fref=ts TWITTER: https://twitter.com/PhilistineFilm
  14. I said I would share a bit of what I am shooting at the moment here in Ireland, which is a black and white short - film called "The Trap" and is being directed by Shane Europa. I know that this part is always filled with super big movies that all of you shoot, hopefully there is a bit of room for a short - film :) THE PROJECT'S BACKGROUND... A while ago I received an email from a person who was looking for help to shoot a small and independant experimental project. He attached a trailer shot by himself envisioning how he wanted the project to look like. That person turned out to be Shane Europa and after watching the trailer I absolutely fell in love with it and wanted to know more. After a couple of mails we agreed on meeting up and talk about the project a bit more, to see what kind of direction he wanted the project to go towards and talk a bit more about the artistry and the references behind it. The day we met I was completely blown away by him and the knowledge he had (and has) about classical cinema, expressionism, photography, art and culture in general, all self taught. Just so you know that when I got to his house, he was reading: "Every frame a Rembrandt" from Andrew Laszlo, book that he told me that he had read plenty of times before and insisted on giving to me. I feel it is very rewarding when you can discuss things that you have a passion about with a person and you connect straight away. What started as a "let's talk a bit" soon got into "let's keep talking about movies and art movements while we have dinner" It is worth noting that Shane has never directed anything until now, The Trap is his first take on directing a project. ... THE PROJECT::: The project itself, "The Trap", is a journey through the mind of a young woman and her memories, fears, secrets and thoughts that she accumulated and experienced from her childhood to her adulthood and how mankind makes us become what we are even if you fight against it. Shane envisioned it as a very contrasty and bold black and white film where darkness and light meet and collide. Those words together with the trailer that he shot by himself were the starting point of my thoughts when I got home. ... MY REFERENCES... If you have been following my still super young career or flicking through the projects I have worked on and my personal still photography portfolio you might have noticed that I am not afraid of darkness and I really love black and white. My photographic journey started thanks to a very good and sttuborn teacher (Carlos Rodriguez) who taught a 20 something kid how to see in black and white and spent a lot of time teaching him old processes and the really difficult to understand (at that time) magnificent zone system, which I still use on a daily basis. Before I started studying black and white photography and visual arts under Carlos, I became mesmerised in college by the work of Albrech Dürer and how he was able to create wood carved prints just with two tones, black and white (We had an "Arts" subject in college and I was very happy I took it for two years, well, actually, 5 years ) Dürer work had me researching for years about how to create something similar in still photography when I started studying it, which led me, obviously, to litograph photography, a really interesting way of seeing the world just in two colours, black AND white. It sounds like fun, right? Thanks to Carlos I started experimenting with litographs, especially with Kodak Kodalith Ortho Film and soon I became fascinated and amazed, both, by it. Litographic photography, for me, is a way of creating and crafting a vision through your inner thoughts, of experimenting with your rawest desires and being able to raise your voice and create something very different. The process of shooting with such a limited tonal scale is really difficult but challenging and reassuring, you have to know beforehand what you want to get out of the litographic film and need to understand how colours and life work in black and white plus the development part is even more important as Kodalit gets the right density when developed really fast hence you need to keep an eye on it all the times. Being able to understand contrast, range, tones and light in litographic photography is a process that takes a lot of time but once you get to know it, you are engaged on it and need to experiment with the film further. I also think that in the era of digital cameras, really quick turn arounds, loose framing, amazing results in natural light and people being able to capture images in raw to make a lot of changes in postproduction, it is a refreshing experience being able to compose carefully and thoroughly an image and then lighting it for a classical black and white look which is a lost art, and if you can get to be bold and dark, the better. If we take a look at the looks that classical cinematographers like James Wong Howe, Nicholas Musuraca, LaShelle or the so well - known John Alton among others created and mastered for their directors, it is something that you don't see very often nowadays in the new wave of cinematographers coming out of schools. however, I am still amazed at how incredible and powerful their images are just with natural light, I think I would not be able to do something like that! That is the reason why one of my favourite directors is Bela Tarr. The movies that he created, with the help of his crew, are very set and rehearsed and you can tell that he likes people being lit with cinema lights as well as creating shadows and a very specific mood for each of his projects. Being Spanish means a lot in terms of arts and I think that one of the biggest influences that any Spanish artist has is Picasso, he was a master creating shapes, textures, variety and developed several techniques through his career. The one that I was interested in the most was "The Black and White" period, where Picasso rejected all the colour and produced magnificent art pieces with a limited palette. And of course, THE photographer, Sebastiao Salgado, there is nothing to say about him because, well, he is Sebastiao Salgado, the master behind black and white contemporary photography, under my point of view of course. We are shooting the project in 4 blocks due to my schedule. The first and second block were shot two weeks ago (3 days) and the week before that week (1 day), we finished shooting the third block just last night and I had some very difficult sequences (for me) in it. The last block will be shot in Galway on the 15th and 16th of August. Anyways, the frames below are the images I came up with for the project let's see if I got something from my references! ... THE TECHNICAL STUFF... Camera: Blackmagic 4K Lenses: Canon photography lenses ASA: Mostly 200ASA but a couple of shots where it was 800ASA Adquisition format: Prores 444 HQ Aspect Ratio: 2.40:1 Colour grader: Windmill Lane (Eoghan McKenna) Keep in mind that for the 1st and 2nd block the total crew has been just the director and myself, with an extra person (the producer) giving us a hand with the board. For the 3rd block I was very lucky because one of my friends from Spain just came to Ireland to live and I asked him to help us out with the lighting as he is a fabulous gaffer (Sergio Fuidia), so that makes 3 people! ... THE RESULT... The images are not graded yet, I just desaturated them and applied a bit of contrast in Davinci (maybe too much in some ha) Dream Sequence The dream part is where we see the journey that our character has gone through, the reasons why she is the way she is, why she grow up like she did and the fears she earned through her childhood. I was able to apply some of the tricks and treats that I learnt from my commercial work and each time I distorted the image in camera Shane liked it loads. Shane wanted to use a lot of smoke as he thought that it was going to enhance the graphical look even further. I have to say that I do not particularly like using smoke on sets or while shooting, as opposed as some other people who are masters on creating magnificent images with it (like Mr. Janusz! Hi there teacher!). I prefer searching for shapes and textures without it because I feel it is more natural for me, however, Shane is the director and he likes smoke so I like smoke :) Learning when to use smoke, how to use it, how much is too much and all those things are things that I had to learn quickly while shooting, and I had a lot of fun using loads of smoke and haze in these first two blocks! Frame 1 Lighting Setup I had a M18 through a full silk on the right hand side, behind our young actress, Lola. The M18 was around 4 meters high and tilted down so I hit the back, the arms and the hair softly and gently enough to separate her from the background. I then brought a Joker 800W with a full chimera and a light grid cloth silk to the left hand side of the frame so I could create an edge of light on her slightly and carefully overexposed so I could burn the spaces between the leafs. There was a lot of overcast natural light and I decided that I wanted to go further so I brought a couple of large black flags in front of her to take out light. Then, I placed a small polyboard in front of the camers and slightly below her so I could bring a subtle softness and light to the extended arm. The "veil" you see in the right - hand side is a tripod placed in front of the camera And the highlights that you see around the branches are from the Joker. Frame 2 Lighting Setup Then we moved to the interior of the tree. Shane wanted to do a frontal shot with just one visible eye, to show in detail what is going on with her. I decided that I wanted to maintain the direction of the light just because that left part of her was going to be the most visible part during the shoot. Because of that, I maintained the M18 in the same side, however, I moved it a little bit to give her some sort of side light. I used half silk instead of full silk because we were moving towards the night - time and natural light started to fade away. I knew I wanted to see her eyes well and I placed a piece of depron in front of her so I could see its reflection in her eyes. If you take a look at the frame carefully you will see the small piece of depron out of focus Although in the frame chosen you don't see the light that the joker is giving to her on the right - hand side we see that part of her in a "lateral dolly" shoot that we did right after finishing the one on the tripod. Moving the camera was a bit complicated because we had a slider and it was motorized, hence when you moved the slider yourself there were some bumps. We decided to go for the automatic movement this time. Frame 3 The following shot was Lola turning around and we were fully in darkness already, we were all very tired but we needed the shot. It is one of those moments where you have to compromise your lighting because of the time and I didn't have a problem with that. At the end of the day I think that as a cinematographer you have to give the most that you can to the director and if at some stage your lighting times mean that he is not going to be able to get what he wants, then you need to be ready to understand that he needs to shoot. With that in mind, I lit as fast as I could to get something interesting and although I missed some highlights in the tree branches we got what we needed, everything matches and everybody was super happy because we had a really productive and positive day. Frame 4 Lighting Setup Again, the M18, was very handy for the above shot as I wanted to create just a side light in her face and let the frame embrace the darkness as there was going to be a lot of smoke in the background. I placed our Joker in a way that the background had a bit of light and it definitely helped. Frame 5 Frame 6 Lighting Setup These two frames were great fun to achieve. We shot those two before, the day we shot Lola giving us her back, but we had a lot of changing weather and I knew that Shane was not really happy with what we achieved, neither was I. The morning before bringing the lights back to Cine Electric (our lighting rental supplier) we had been shooting a roster in a lot of different positions and doing what rosters do. I forgot to get a frame of the roster but I'll post it as soon as I get it because I had a lot of fun with it. It was a great time but it started to rain so we decided to finish the 2nd block, have lunch and give the lights back. 1 1/2 hours later, we were about to start eating when the sun started to shine and there were no clouds in the horizon (well, it is Ireland so that means that 1 minute you have a beautiful blue sky, the next is raining a lot) and I turned to Shane and said: "Get the camera ready, let's re - shoot the garden shots again!" He picked the camera, Lola (our actress) got ready, I placed the lights and we started to shoot for about 30 or 40 minutes. When we were happy with everything we packed again and, suddenly, it started to rain. As I said before, Shane loves smoke and we had two smoke machines for the above shoots, one for the background, another one for the foreground so we could get the shafts of light on the left - hand side of the frame. For the close up I put the polyboard closer to her and directed a 2K towards it, it wasn't enough tho but I got lucky and she got the lovely reflection from the Joker. I knew I was not going to be able to overpower the sun patches (although I had a T5.6 / T8 stop) and I had two options, either underexpose everything to bring the sun patches to a normal reading and bring back the shadows while grading or let them go, I chose the latter. The reading was 85% in the zebra reading that the camera has so maybe there is a little bit of information there and I will be able to bring it down a tad when colour grading (or not). And that's all! I will put up more images from the 3rd block when I get them :) Have a lovely day!
  15. How you go about when you expose for black and white? Does an exposure for black and white differ in term of how you do your exposure and calculation with the light meter, from working in colors? Does the highlights and shadows work the same way as they work shooting in colors? Beside any color temperature consideration, how you work with your exposure when you are shooting black and white, you approach it in a very different way taking more in consideration the reflectances on the subjects? I know for instance if you apply a red filter (such as RED #23) the red object will become lighter: how does the gels and color filters work in black and white? any personal experience on making an exposure for black and white? thanks for answering to my very first post!
  16. Hi!! Here is my small black and white stock ready to be shoot. 5600 ft!! As you can see it's a mixed stock, all expired. I've already shot RAR2496, Regiscope and Tri-X with good results. Don't know what could happen with Perutz, Orwo, Svema, Dupont, Tasma or with the oldest one Agfa Wolfen Ultra rapid. You think its crazy to ask the lab 1 stop push with this old stocks? Have you ever use any of this stocks? Any suggestion? Bests!! Andrés
  17. Hello, I'm working on a project for 2015 that I want to shoot on black and white 16mm film. I've watched several films online shot with Tri-X film and a few on Double X but the blacks are so dark (I know, they're supposed to be). :) These are great film stocks but for my film I kinda don't want the blacks to be so black. For example, one of my favorite films is the 1956 version of "The Bad Seed" and as you can see from the photos the black and white image is not so dark. The blacks aren't so black like they are in the modern stocks. I might not be explaining this well. You can see from the fireplace below that there is black and that the liquor is obviously a dark color but the overall scene isn't dark on the edges and has an even grey scale tone. Even the images with more dark areas aren't as black as what I've seen in modern B&W stocks. Is it possible for me to achieve this lighter toned black and white imagery with modern black and white film stocks? Or would I have to shoot on color film and do a grey scale/desaturate/black and white treatment on it in post? This discussion lost me a bit: http://www.cinematography.com/index.php?showtopic=50105&hl=%20black%20%20and%20%20white&page=2 I think someone in that post had a great idea of shooting with a still film camera using the film stock I'd like to use with the setup I plan to shoot and see how that looks. I'm going to try that.
  18. I'm hoping to do a music video for a music group and they want to do it with a white background. I'm confused on how much space i might need and what else I'm not realizing i'll need to do the video. (besides camera, the right lightning, tripod and hopefully a dolly). I have some examples. Can anyone give some advice on what they think is the right amount of space compared to the videos i've put up? http://www.youtube.com/watch?v=o3TwzXr_jFQ You can put the music on mute, I just need advice for the visual. I know they did the music videos using film, so I want to get that out of the way. Thank you for taking out the time to respond.
  19. Hi everyone, I have always loved the 1979 movie Manhattan by Woody Allen for it's cinematic look and amazingly beautiful black and white and underexposed scenes (thanks to Gordon Willis) and of course for the compelling story and acting. I'm trying to learn more about lighting at the moment and It would be great to get some input on how they lit this particular scene. The scene I'm thinking of is the one where's he is on his sofa talking into the tape recorder.
  20. Dear all, I hope this isn't too rookie a question for this site, but I'm trying to make a decision about a project which we will almost certainly want to shoot in black & white on a Canon DSLR, and I realise that it takes me to an essential question about how those cameras record data. I've done tests shooting 10 seconds of footage in the Standard picture profile, the same in Technicolour CineStyle and in Monochrome. All three tests gave me pretty much the same size of file with the same data rate. Here's the question: Does this mean that I'm getting a more detailed image in Monochrome? It's not having to compress any colour information into the h.264 file, so is it filling up the space this leaves with a little bit more lovely detail? Or, because it's CBR, is it including a lot of blank useless colour information, causing the file to be the same size as a colour file? Why do I need to know? Well, if we are actually getting a more detailed picture by dumping colour information at source, then we'll go for that. If however it makes not a blind bit of difference, then we might as well shoot in colour, to leave our options open. Thanks, Guy
  21. I am planning on shooting a short film with my T4i, planning on grading it black and white in post. I know that lighting for black and white is different than color and requires some more contrast (because color is no longer a factor). What do you think the best way to gauge what it will look like in black and white, short of metering and hoping?
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