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Under the direction of Ken Loach .. my good self being slapped on the stairs of Fortnum & Mason,s London 1965.. The Wednesday Play BBC1 ..

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44 minutes ago, Stephen Sanchez said:

@Feli di Giorgio Might just be nostalgia for me, but I love Greenberg's work on that film.

The original Terminator is great. One of the best color noir ever shot. I love how gritty it is.

I wonder what lenses he used. Primo or Super Speeds?

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I think a lot of what makes Vertigo so great is the combination of cinematography and art direction working together. Lots of symbolism in the choice of color and lighting in this film

Edited by Feli di Giorgio
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Will always be my favorite picture. Moody blue lighting that brings out the fictional sort of nightmarish night time feel, quiet suburban neighborhood which makes the viewer feel comfortable and vulnerable enough to believe what they are seeing, groundbreaking low budget cinematography and editing, and of course the beautiful pastel colors of the Eastman 5247 that so many films of it's time were shot using. Severely underrated cinematography wise. 

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5 hours ago, Feli di Giorgio said:

The original Terminator is great. One of the best color noir ever shot. I love how gritty it is.

I wonder what lenses he used. Primo or Super Speeds?

Superspeeds and LowCons (as far as I know).

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4 hours ago, Phil Connolly said:

later.thumb.jpg.754ffac7ca38aae4950178c11d3d8742.jpglater2.jpg.25dd0bda14785ff20f3c19fff49d39a4.jpg

I find this interesting because it was shot anamorphic onto a canon XL1 2/3" sensor and B4-mount 'broadcast' lenses. I think it just spat out a Rec.709 image, I'm sure it's dynamic range was limiting for Dod Mantle, BSC, ASC. I've not seen it since watching it on CRT television when it came out. This would be a fun re-watch.

Edited by Stephen Sanchez
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1 hour ago, Stephen Sanchez said:

I find this interesting because it was shot anamorphic onto a canon XL1 2/3" sensor and B4-mount 'broadcast' lenses. I think it just spat out a Rec.709 image, I'm sure it's dynamic range was limiting for Dod Mantle, BSC, ASC. I've not seen it since watching it on CRT television when it came out. This would be a fun re-watch.

It's 1/3" 4:3 PAL sensor deinterlaced and then cropped to 1.85:1 I don't think they used anamorphics. Then Rec 709 4:2:0 DV (I heard tell there was some Sony DSR500 in the mix - which was a 16:9 2/3" sensor, I don't think it was completley shot on the XL1)

 I've seen it projected on 35mm and watched one of the Digi-Beta master tape's. Both were very grungy looking  maybe only 300 or 400 lines of resolution all told.... But the images are incredibly striking and resonant...the low res gives the images a level of abstraction that almost makes them look like water colours. It's the perfect example of a film with cinematography that perfectly suits the subject matter. Sure better formats would look technically "better" but that misses the point. The flaws  are the image...

Also the recent news footage of London looks a lot like this so it feels resonant. 

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  • 2 weeks later...

I always felt this ending-frame elevated the whole movie to a special level. I have never seen it topped anywhere, ever (Not even in the other StarWars movies)

Almost like how a theater-play is ended with the curtain-call.

Cinematically simple. And no fancy coloring or overly 'artsy' look. Just a clear memorable frame of the heroes to let the audience end the journey with 🙂 

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On 4/3/2020 at 2:40 AM, Phil Rhodes said:

"I'm going to light Halle Berry in green, and it's going to be okay."

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If that had been shot in the UK it would have been grey on grey.

Convert it, lets see you vision.

Edited by Daniel D. Teoli Jr.
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I sometimes shoot a movie with a still cam for timing and comp practice.  Lots of nice stills in Godzilla

https://danieldteolijrarchivalcollection.wordpress.com/2017/08/13/the-godzilla/

I did another one on The Train. Have not got around to post processing it. 

Edited by Daniel D. Teoli Jr.
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