Year: 2024

         I had an interesting discussion recently with a director friend regarding how far we should go in order to make our films appear convincing.  We happened to be watching a rotation of ’60’s-vintage movies at the moment, so there were plenty of examples to refer to.  One stood out in particular, not because of … Continue reading “WHAT CONSTITUTES ‘GOOD ENOUGH?’”

            In a recent post, I alerted you to the clumsy use of a lighting fade in Funny Girl.  Today, I’ll point out a pair of more constructive applications which appear in a film that belongs in a category of its own, The Godfather, Part II (1974; Francis Coppola\Gordon Willis, ASC).  The fades are easy … Continue reading “MEANINGFUL FADES”

Photo courtesy of Panavision…          How can you not love the Panavision Gold II…?  I certainly do, and with great passion!          By an exceedingly large margin, it’s my all-time favorite camera.  Having exposed several million feet of film through its movement over the years, I’m not ashamed to admit that I have such an … Continue reading “FAVORITE CAMERAS #4”

An ad from the January 1954 issue of American Cinematographer…          How can you not love the Eclair Camerette (aka, Cameflex, aka CM3)…?          Like the previous two cameras I’ve highlighted in this series, it’s sturdy, light-weight, has a three-lens turret and is easily hand-holdable.  What sets this French-made device apart from its American and … Continue reading “FAVORITE CAMERAS #3”

An ad from the March 1948 edition of American Cinematographer…          How can you not love the Arriflex IIC…?          Imagine walking around your entire life with your eyes closed, then someone teaches you how to open them.  You’d jump at the chance and never go back to your old way of doing things, right? … Continue reading “FAVORITE CAMERAS #2”

An ad from the March 1948 issue of American Cinematographer…          How can you not love the Bell and Howell 35mm Eyemo…?  Introduced in 1925, it remains a viable tool for cinematographers who want the ultimate no-frills motion picture camera. If you don’t need to shoot synch-sound, it can deliver high-quality images within its many … Continue reading “FAVORITE CAMERAS #1”

            In 2007 I was attached to a project, part of which involved shooting a revival of the popular musical South Pacific as it was performed at the Hollywood Bowl.  I had no idea what to expect when we scouted the show on its first night, but I was blown away at the scale and … Continue reading “SOME ENCHANTED EVENING”

            In support of Tuesday’s post which blew the horn for in-camera effects, here’s an example from Karl Struss, ASC, co-winner (with Charles Rosher, ASC) of the first Academy Award for cinematography.             Prior to the invention of the optical printer, the instant-of-exposure method was the most common way to create movie magic.  Like all … Continue reading “MORE ON IN-CAMERA EFFECTS”

            In-camera effects – the type executed at the moment of exposure – have essentially disappeared since the transition to digital workflows took place twenty years ago.  Though there remain a few enthusiastic holdouts (namely, director Christopher Nolan and my brilliant friend, Chris Webb at FX WRX in Brooklyn), you’d be hard-pressed to find many … Continue reading “AIN’T NOTHING LIKE THE REAL THING”

With awards season in full blossom, one would assume that after a long, challenging year, the cream has finally risen to the top.  While that’s true for the most part, you won’t be seeing the best in cinematography unless you take a look at Season 6 of The Crown (Netflix).              No, I’ll amend that … Continue reading “THE CROWN, AGAIN”