LED technology has quickly turned many of our formerly common lighting units into antiques. Rather than toss them on the heap, this ad from the May 1969 issue of American Cinematographer suggests an interesting tack. It’s a sad sight in its way, though no doubt will present its own reward given the right choice … Continue reading “RECYCLING AT ITS BEST!”
Year: 2024
ONE OF MANY ALSO-RANS
Earlier this year, I delivered several posts touting the virtues of certain cameras that I have used – and loved. That might sound a bit strange, but the connections that developed were similar to the ones you’ve probably had with certain cars or musical instruments. Though I never had the opportunity to shoot with … Continue reading “ONE OF MANY ALSO-RANS”
AN INTERESTING ANOMALY?
Prior to the arrival of Garrett Brown’s Steadicam in the mid-70’s, options for moving the camera smoothly from Point A to Point B were limited to the use of dollies or cranes, all of which were cumbersome and required time and expertise to use. Skipping the indulgence of a well-financed production, low-budget shows often … Continue reading “AN INTERESTING ANOMALY?”
A VERY SPECIAL EVENING
A few weeks ago, I enjoyed the rare privilege of attending a screening of John Ford’s classic western, The Searchers (1956) at the Aero Theater in Santa Monica. Along with the fabled Egyptian Theater in Hollywood, this venue is part of the American Cinematheque, an organization that since 1985 has brought enthusiasts a wealth … Continue reading “A VERY SPECIAL EVENING”
SAINTLY RELICS
A few weeks ago, I got around to visiting the Academy of Motion Picture Arts and Sciences Museum in Los Angeles. While I’m usually not one for pouring over collections of posters, props and costumes from notable movies, I was intent on seeing the special exhibition on The Godfather trilogy. To be honest, … Continue reading “SAINTLY RELICS”
A SKY-HIGH HONOR
A few weeks ago, I posted a pair of letters from Apollo 11 astronauts Neil Armstrong and Buzz Aldrin that politely declined membership in the East Coast wing of the cinematographer’s union, at the time known as Local 644. While the first men to walk on the moon seemed to have had no … Continue reading “A SKY-HIGH HONOR”
APPARENTLY, DURABILITY WAS THE GOAL
Imagine a motion picture camera whose movement was powered by a crank attached to a…bicycle chain. Well, that was precisely the case with this c.1910 Williamson Kinematograph model. According to the British entity, Science Museum Group, it was… …manufactured by The Williamson Kinematograph Co. Ltd., London and Brighton. ‘English Pattern’ upright cine … Continue reading “APPARENTLY, DURABILITY WAS THE GOAL”
DOES IT EVER END…?
As much as I enjoyed Robert Elswit, ASC’s amazing cinematography in the Netflix production of Ripley, I find it incomprehensible that anyone would reject it outright because it was created in black and white. But since there’s no accounting for taste, I’m bringing you Maira Butt’s April 10th article in the British publication, The … Continue reading “DOES IT EVER END…?”
RIPLEY (2024; Netflix)
The currently-running Netflix limited series, Ripley, is one of the best shows I’ve seen in quite some time. Drawn from Patricia Highsmith’s novel, The Talented Mr. Ripley, I was a bit dubious going in. I hadn’t been a fan of Anthony Minghella’s 1999 feature version (John Seale, ASC, ACS) and thus had to be … Continue reading “RIPLEY (2024; Netflix)”
HAS EVERYTHING BEEN DONE ALREADY…?
Last year’s award-winning Oppenheimer (Christopher Nolan\Hoyte van Hoytema, ASC, FSF, NFC) and Maestro (Bradley Cooper\Matthew Libatique, ASC, LPS) made good use of multiple formats within a single framework. To once again remind us that there’s very little left that hasn’t already been shown in some form or another, below is an article from the … Continue reading “HAS EVERYTHING BEEN DONE ALREADY…?”