cole t parzenn Posted September 29, 2014 Share Posted September 29, 2014 With ArcLight programming several of his films, this coming month (some, on film!), I thought that now would be a good time to have a thread for the interesting but little discussed work of Wally Pfister. Memento, 2000, shot on Double X and Vision 1, with E series lenses Laurel Canyon, 2002, shot on Vision 1, with Primo lenses Continued... Link to comment Share on other sites More sharing options...
cole t parzenn Posted September 29, 2014 Author Share Posted September 29, 2014 Batman Begins, 2005, shot on Vision 2, with C and E series lenses The first of four consecutive Oscar nominations Continued... Link to comment Share on other sites More sharing options...
cole t parzenn Posted September 29, 2014 Author Share Posted September 29, 2014 The Prestige, 2006, shot on Vision 2, with C and E series lenses (except one vfx plate, shot in IMAX) The Dark Knight, shot on Vision 2, with C and E series super speeds (modified Hasselblad lenses, for IMAX scenes) Continued... Link to comment Share on other sites More sharing options...
cole t parzenn Posted September 29, 2014 Author Share Posted September 29, 2014 Inception, 2010, shot on Vision 3 (and HD?), with Primo, C, E, G, and System 65 series lenses (scope, lazy-eight, cropped 65, and - possibly - S35) Oscar winner Continued... Link to comment Share on other sites More sharing options...
cole t parzenn Posted September 29, 2014 Author Share Posted September 29, 2014 Moneyball, 2011, shot on Vision 3, with primo lenses (S35/4K DI) Availability and quality of frame grabs varied widely; there are more Moneyball frames here but I didn't want to create a sixth post. Fifty images should be a sufficient showcase of Pfister's work, in any case. (I could've posted fewer but, as time goes on, Pfister's work gets so pretty - I didn't want to stop looking up stills.) There isn't a whole lot of information available on Pfister's process but I've pieced together this much: More than anything else, he wants his work to not appear to be lit He invariably uses the latest and fastest Kodak stocks More than most, he coordinates with other department heads, to get the exact colors, textures, and light that he wants on screen On set, he prefers to shape the look of the film with changes in exposure, rather than stocks and lenses I'll leave any further commentary to those more qualified than I and just ask, what is he doing that brings out the red in actors' faces? Link to comment Share on other sites More sharing options...
Albion Hockney Posted September 29, 2014 Share Posted September 29, 2014 Honestly don't think his work got super good till later. he seemed to learn how to be more subtle over time. the work in dark knight was great very natrual yet stylized Link to comment Share on other sites More sharing options...
Manu Delpech Posted September 29, 2014 Share Posted September 29, 2014 I have a personal preference for Moneyball, although BB, TDK & TDKR look fantastic. I think his work on Moneyball has been seriously overlooked, as said, I like how natural it looks, and it looks really great, notably that opening with Brad Pitt in the stands, gorgeous stuff. Link to comment Share on other sites More sharing options...
cole t parzenn Posted October 12, 2014 Author Share Posted October 12, 2014 With his four Oscar noms, I'm curious, is there some technical aspect of his work that speaks to other cinematographers? Link to comment Share on other sites More sharing options...
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