(via Zeiss Ikon Film Reel Display by LylaAndBlu on Etsy)
Hey you guys…my birthday’s coming up so…
10:53
Delicatessen’s distinct visual aesthetic can be attributed partly to an intricate chemical process called ENR. Named after its inventor, Ernesto Novelli Rimo, a technician at Technicolor Rome, the process was created for legendary cinematographer Vittorio Storaro (Apocalypse Now, Reds, The Last Emperor). The bleach-bypass process imbues the film stock with a sanguine overcast, giving it a cannibal quality that matches the subject matter. via Art of the Title
![“On Star Trek and MI3, I was A-camera and Phil [Carr-Foster] was B-camera, and on this film, he’s A and I’m B,” [Colin] Anderson explains. “It’s great, because there are no egos with us. We try and stay out of the way, and still get something that’s complementary.”
Adds Carr-Forster, “We know each other well. What we do is try and hide the cameras somewhere and talk to each other – ‘Do you see me here? What about if I’m here?’ It’s all done quickly,” though, as Anderson laughs, “We still shoot each other sometimes.”
Abrams’s energetic visual style added another layer of complexity that inspired a mantra for the entire team: “With J.J., the camera is always moving,” notes Anderson. “Anything that makes the shot feel alive, he wants.”
And at the core of each scene is the A-camera master, which Abrams describes as the “hero camera telling the main story.” A hero-cam, that is, of course, never a static, wide master, augmented by close-ups and cut-ins.
“There is always an effort to make sure every shot – from the beginning to the end of the master shot – is very interesting,” [DP Larry] Fong laughs. “And by ‘interesting,’ I mean elaborate and complicated.”
“[The master] is invariably an intricate move, whether we’re on a Steadicam or a Technocrane or a dolly,” Anderson adds. “That’s because J.J. designs these wonderfully elaborate moves that tell so much in one shot.”
The A-camera on the Technocrane often sat on a Chapman-Leonard Maverick™ Mobile Arm Vehicle (M.A.V.), giving Abrams even more flexibility in his shot designs. The rubber-tired Maverick is capable of moving at high speeds, and as Abrams describes, was something that, “in many cases, proved its value in its flexibility and ease of use.” Operating a Panavision® Millennium XL, usually outfitted with an anamorphic 40mm Primo or 60mm close focus lens, Carr-Forster would descend from high above to a mere foot from one of the child actors in a single move. One such example begins with a vista of the train depot as the kids arrive in a car. The crane pushes in over the tracks and, as the wind picks up and script pages fly from the hands of one of the kids, the camera pushes in on his face.
“These [type of] shots are remarkable,” Carr-Forster relates, “because they bring you from well outside the canvas all the way into the scene.” (via Mystery Train : ICG Magazine)](http://25.media.tumblr.com/tumblr_ln1qsiPkd01qztqsao1_1280.jpg)
“On Star Trek and MI3, I was A-camera and Phil [Carr-Foster] was B-camera, and on this film, he’s A and I’m B,” [Colin] Anderson explains. “It’s great, because there are no egos with us. We try and stay out of the way, and still get something that’s complementary.”
Adds Carr-Forster, “We know each other well. What we do is try and hide the cameras somewhere and talk to each other – ‘Do you see me here? What about if I’m here?’ It’s all done quickly,” though, as Anderson laughs, “We still shoot each other sometimes.”
Abrams’s energetic visual style added another layer of complexity that inspired a mantra for the entire team: “With J.J., the camera is always moving,” notes Anderson. “Anything that makes the shot feel alive, he wants.”
And at the core of each scene is the A-camera master, which Abrams describes as the “hero camera telling the main story.” A hero-cam, that is, of course, never a static, wide master, augmented by close-ups and cut-ins.
“There is always an effort to make sure every shot – from the beginning to the end of the master shot – is very interesting,” [DP Larry] Fong laughs. “And by ‘interesting,’ I mean elaborate and complicated.”
“[The master] is invariably an intricate move, whether we’re on a Steadicam or a Technocrane or a dolly,” Anderson adds. “That’s because J.J. designs these wonderfully elaborate moves that tell so much in one shot.”
The A-camera on the Technocrane often sat on a Chapman-Leonard Maverick™ Mobile Arm Vehicle (M.A.V.), giving Abrams even more flexibility in his shot designs. The rubber-tired Maverick is capable of moving at high speeds, and as Abrams describes, was something that, “in many cases, proved its value in its flexibility and ease of use.” Operating a Panavision® Millennium XL, usually outfitted with an anamorphic 40mm Primo or 60mm close focus lens, Carr-Forster would descend from high above to a mere foot from one of the child actors in a single move. One such example begins with a vista of the train depot as the kids arrive in a car. The crane pushes in over the tracks and, as the wind picks up and script pages fly from the hands of one of the kids, the camera pushes in on his face.
“These [type of] shots are remarkable,” Carr-Forster relates, “because they bring you from well outside the canvas all the way into the scene.” (via Mystery Train : ICG Magazine)
Access Main Computer File: An archive of screencaps showing how Hollywood portrayed the desktop throughout the ages. Can you identify which movies the ones above are from?
Prolost - Your New TV Ruins Movies
TVs are designed to do one thing only: sell. To do so, they must fight for attention on brightly-lit showroom floors. Manufacturers accomplish this in much the same way that transvestite hookers in San Francisco’s Tenderloin district do—by showing you everything they’ve got, turned up to eleven. You want brightness? We’ll scald your retinas. You want sharpness? We’ll draw a black outline around everything for you. Like bright colors? We’ll find them even in Casablanca. Oh, and since you associate “yellowing” with age and decay, we’ll also make the image as blue as a retiree’s bouffant on Miami beach.
and on the feature of Motion smoothing in LCD flatscreens (interpolating extra frames) :
Filmmakers were not content to make movies with video cameras until those cameras could shoot 24p, because video, with its many-frames-per-second, looks like reality, like the evening news, like a live broadcast or a daytime soap opera; whereas 24p film, by showing us less, looks somehow larger than life, like a dream, like a story being told rather than an event being documented.
This is interesting since, well, James Cameron just announced higher framerates as the future of cinematic whatever.
I liked this bit too:
Now I’m going to do that internet-unfriendly thing I try to do every so often, which is make a nuanced point.
The Steadicam: 35 years later and—with the possible exception of Scorsese’s legendary shot in Goodfellas—yet to be employed to greater effect than when Stanley Kubrick took it for an early test drive in The Shining. [via]
Gotta hand it to Steadicam inventor/operator Garrett Brown who commuted for several months every Sunday by Concorde shooting one week in Philadelphia for Rocky II and one week in London for The Shining. Utterly insane.
Christopher Nolan
A woman I worked with bought her husband a director’s viewfinder for Christmas. I can’t think of a better present for a filmmaker that shows your love and support for his art.
LIQUID IMAGE - Diving mask Video / Photo - colette
This is the world’s only dive mask that has an integrated waterproof digital video camera plus photographs at 5mp. Ideal for snorkeling, snuba, spearfishing, freediving, shark cage diving and shallow scuba diving.
21:48
Jennifer Connolly in Requiem for a Dream
