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Would limiting myself to using only the 9 or 10 Storaro gels from Rosco be a reasonable creative strategy for maximizing visual impact while streamlining the decision process? (With the exception of CTB, CTO, and CTS, of course). Are his colors versatile enough to tell every kind of story, convey every emotion? Why? I’m exhausted. Between Lee, Rosco, Apollo, and GAM there are thousands of gel colors available. But I’m old as old can be and don’t have time to learn the nuances of so many options before I’m dead. Plus, Vittorio is a much greater genius than most of us...

Hi everyone! My name is Michael Lau, and I work for Sepia Films, an independent film production company based in Vancouver and LA. As big fans of this community, we are so excited to tell you about our documentary KEEPERS OF THE MAGIC, which spotlights cinematographers such as Roger Deakins, John Seale, Gordon Willis, Vittorio Storaro, Bruno Delbonnel, and Philippe Rousselot. It is being released across the US on August 7th through VOD (US Satellite/Cable), IVoD (iTunes, Google Play, etc.) and Home Video (Amazon). KoTM is both an homage to the great films of our time and a personal exploration of the artists that created them. It features candid interviews and intimate insights into the work of these legendary cinematographers amongst others (including Directors George Miller and Sam Mendes) as they discuss their careers and most memorable movie moments. The film is the passion project of Vic Sarin, an eminent DP/Director in his own right, who wanted to celebrate the masters of this largely unsung art form. You can find more information here: https://www.imdb.com...2/?ref_=nv_sr_1 And a link to the trailer here: . Our goal is to give cinematographers the recognition that they seldom receive; but to do so, we need to reach as many people as possible. Please don't hesitate to ask any questions! Michael

Here is the first look at the second collaboration between Woody Allen and Vittorio Storaro: It was posted yesterday. The film will premiere on 14 October 2017 at the New York Film Festival and will be available on 1 December in select theatres. IndieWire has all the best shots and The Woody Allen Pages has a shot-by-shot breakdown. It looks very candy-coloured, doesn't it? And not much unlike the last film even though the time periods are different. In fact, it seems like a continuation or a variation on a theme. People are already declaring it visually stunning and saying no wonder, since it's Storaro.

Have you read that Vittorio Storaro is the next cinematographer to work with Woody Allen? One Web site says "reportedly": http://blogs.indiewire.com/theplaylist/legendary-cinematographer-vittorio-storaro-reportedly-lensing-woody-allens-2016-film-will-be-set-in-1930s-20150807 the other one seems sure that it is the case: http://www.woodyallenpages.com/2015/07/legendary-cinematographer-vittorio-storaro-joins-woody-allens-2016-film/ As always with Woody Allen's films, and many others, little is known about the film. It seems it will be set in the 1930s.

Storaro is back. And so is the Sony F65. http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-filming-cafe-911441

I was wondering how is it that these gels came to be? When did Rosco decide to ask Storaro to create them? And why did Storaro choose precisely these ten colours? How much has Storaro himself used the gels? Are there any particular instances of striking use of one or several of these gels? https://www.rosco.com/filters/cinegel.cfm?CategoryID=5