PRODUCTION DESIGN(ERS)

            Given our all-consuming involvement with what we do, it’s easy to overlook the contributions of the other departments we collaborate with each day.  We often forget that a huge part of how our images turn out is dependent upon what’s served up before the lens.  To that end, production designers and set decorators deserve … Continue reading “PRODUCTION DESIGN(ERS)”

10.27.2020

CHANGE – Part 2

            “You can speed progress or you can slow it, but you cannot stop it.”             Vittorio Storaro, ASC, AIC             The other night I caught a screening of Michael Curtiz’s 1940 pirate spectacular, The Seahawk.  Photographed in luminous black and white by Sol Polito, ASC, it’s one of those great studio productions that were … Continue reading “CHANGE – Part 2”

10.20.2020

LIGHTING DIAGRAM #12 – PRESUMED INNOCENT

            Harrison Ford’s character Rusty Sabich and John Spencer’s cop Dan Lipranzer watch a political concession speech in a hotel ballroom.  Find it at 0:47:38…             Large space, minimal lighting…yet completely appropriate to the action as described in the script.  And despite the size of the room (100’x60′) and large number of extras, it was … Continue reading “LIGHTING DIAGRAM #12 – PRESUMED INNOCENT”

10.16.2020

CHANGE – Part 1

            I know, it’s crazy…  From time to time someone still asks me: Which is better, film or digital?  Not a sophisticated query, but giving the benefit I suspect what they’re really curious about are the underlying concepts – change and adaptation.             Change is the single immutable notion in the cinematographer’s world…it has been … Continue reading “CHANGE – Part 1”

10.13.2020

LIGHTING DIAGRAM #11 – ISHTAR

            This scene was shot in a practical location – a restaurant located on Duane St. in lower Manhattan.  Working in the daytime, the windows were covered with layers of Duvetyne and we played it for a night\interior.  The white walls and ceiling give an overall high-key feel to Storaro’s work here; even he wasn’t … Continue reading “LIGHTING DIAGRAM #11 – ISHTAR”

10.9.2020

AUTHORSHIP AND ARTISTS RIGHTS

            Who does the light, composition, color and camera movement of any motion picture belong to?  According to U.S. copyright law they are the property of the producing entity.  Moral law allows for a different interpretation.  Vittorio Storaro, ASC, AIC refers to cinematographers as “authors of photography” and his assessment is correct.  There’s an aspect … Continue reading “AUTHORSHIP AND ARTISTS RIGHTS”

10.6.2020