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mothercain-deactivated20231124
grrrrr
Specter
Darkened mood
zalenshutthefuckup reblogged
mothercain-deactivated20231124
shot by enoch chuang ♡
hallowed
zalenshutthefuckup reblogged
“The Devil’s Backbone” / “El espinazo del diablo” (2001)
Directed by: Guillermo del Toro Cinematography: Guillermo Navarro ASC Camera: Moviecam Compact, Zeiss Super Speed and Variable Prime Lenses Negative Format: 35 mm (Kodak Vision 250D 5246, Vision 500T 5279) Aspect Ratio: 1.85 : 1
Images taken from the Criterion BD release.
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The Tree of Life
Directed by: Terrence Malick Cinematography: Emmanuel Lubezki ASC Cameras: Arricam LT/ST, 235/435, IMAX HSM, Panavision 65 HR Format: 35mm (Kodak Vision2 200T 5217, Vision2 500T 5218), 65mm (some scenes) Mode: spherical (4-perf) Aspect Ratio: 1.85:1
Images: US Blu-Ray release
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The Place Beyond the Pines
Directed by: Derek Cianfrance Cinematography: Sean Bobbitt BSC Cameras: Arricam LT/ST/235, Cooke S4 and Angenieux Optimo Lenses Format: 35mm (Kodak Vision2 50D 5201, Vision3 250D 5207, Vision3 500T 5219) Mode: Techniscope (2-perf) Aspect Ratio: 2.35:1
Images: Blu-Ray release (uncompressed)
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Mud
Directed by: Jeff Nichols Cinematography: Adam Stone Camera: Arriflex 235, Panavision G-Series Lenses, Panavision Panaflex Millennium XL2, Panavision G-Series and ATZ Lenses Format: 35mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 500T 5219) Mode: Anamorphic
Images from Blu-Ray release.
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Richard Linklater Week Bernie, 2011 Cinematography: Dick Pope
Awesome blog. Follow them!
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Prisoners (2013)
Directed by: Denis Villeneuve Cinematography: Roger Deakins BSC, ASC Cameras: Arri Alexa Plus & Studio, Zeiss Master Primes Format: Digital (ARRIRAW) Mode: Spherical Aspect Ratio: 1.85:1
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The Hunt (Jagten)
Directed by: Thomas Vinterberg Cinematography: Charlotte Bruus Christensen Cameras: Arri Alexa Plus, CXX and Fuji Alura Lenses Format: Digital (SxS) Mode: Spherical Aspect Ratio: 2.35:1
zalenshutthefuckup reblogged
The Hunt (Jagten)
Directed by: Thomas Vinterberg Cinematography: Charlotte Bruus Christensen Cameras: Arri Alexa Plus, CXX and Fuji Alura Lenses Format: Digital (SxS) Mode: Spherical Aspect Ratio: 2.35:1
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Lost River (2014) Directed by: Ryan Gosling Cinematography: Benoît Debie Negative format: 35mm techniscope (2-perf) Camera: Arricam LT, Cooke 5/i and Zeiss Ultra Prime Lenses, Arriflex 235, Cooke 5/i and Zeiss Ultra Prime Lenses
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Christopher Nolan on set of Interstellar Movie, shot on Vision3 500T 5219 and 250D 5207 35mm and 65mm Kodak Motion Picture Film with IMAX® MSM9802 cameras through Hasselblad Lenses and with Panavision Panaflex Millennium XL2 cameras through Panavision C and E Series Lenses.
via setlife magazine
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Mommy (2014)
What do you think about the new Xavier Dolan movie’s aspect ratio?
He previously chose 1:37.1 on Laurence Anyways but this looks even more unusual: it was shot on 35mm film and then he cropped the image to 1:1. It’s like looking at a classic medium format - 6x6 - photograph (or an Instagram photo), but is it enough for the big screen? Don’t you miss something? It would be great to hear your thoughts!
Dolan about his choice:
The perfect square in which it consists framed faces with such simplicity, and seemed like the ideal structure for “portrait” shots. No distraction, no affectations are possible in such constricted space. The character is our main subject, inescapably at the center of our attention. Our eyes cannot miss him, her. 1:1 is, besides, the ratio of album covers in the CD industry, and of all of these jackets that have imprinted our imaginaries over time. The Die & Steve Mix 4ever being a leitmotif for us, the use of 1:1 found an additional echo. It is also, to be frank, my DOP André Turpin’s favorite ratio which he had, apparently, dreamed of using his entire life without ever daring to do so. (…) after having now spent a year with him busting my balls at about just every shot, regretting our infamous ratio, I’ve learned two things: André loves cinemascope and I, for one, have absolutely no regrets in this. (via FilmStage)
And just for the record: Mommy received rave reviews in Cannes.
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Paradise: Hope (Paradies: Hoffnung)
Directed by: Ulrich Seidl Cinematography: Edward Lachman (ASC) & Wolfgang Thaler (AAC) Cameras: Arri Format: 16mm (Kodak Vision3 200T/500T) Mode: Spherical (super16) Aspect ratio: 1.85:1
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Inside Llewyn Davis (2013)
Directed by: Ethan Coen, Joel Coen Cinematography: Bruno Delbonel ASC, AFC Cameras: Arricam LT, Cooke S4 Lenses, Arricam ST, Cooke S4 Lenses Format: 35mm (Kodak Vision3 500T 5219) Mode: spherical Aspect Ratio: 1.85:1
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The Man Who Wasn’t There (2001)
Directed by: Ethan Coen, Joel Coen Cinematography: Roger Deakins, ASC, BSC Cameras: Arriflex 535B, Cooke S4 lenses Format: 35mm (Kodak Vision 320T 5277 / bleach bypassed to black & white) Mode: Spherical Aspect Ratio: 1.85:1
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Elena (Елена, 2011, Russia)
Directed by: Andrey Zvyagintsev Cinematography: Mikhail Krichman, RGC Cameras: Arricam ST, Zeiss Master Primes Format: 35mm (Kodak Vision3 250D 5207, Kodak Vision3 500T 5219) Mode: Spherical (super 35) Aspect Ratio: 2.35:1
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Nightcrawler (2014)
Directed by: Dan Gilroy Cinematography: Robert Elswit, ASC Cameras & Lenses: Arri Alexa XT, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses (digital scenes), Panavision Panaflex Millennium XL2, Panavision Primo, Super Speed MKII, Ultra Speed MKII and Angenieux Optimo Lenses (35mm film scenes) Format: Digital (ARRIRAW 2.8K / night scenes), 35mm (Kodak Vision3 200T 5213 / daylight & some scenes) Mode: Spherical (super35/3-perf) Aspect Ratio: 2.35:1