Ipcress File (1965)
Directed by: Sidney J. Furie Cinematography: Otto Heller, BSC Format: 35 mm, techniscope (2-perf) Mode: spherical Aspect Ratio: 2.35:1
amazingcinematography reblogged
Back cover of American Cinematographer Magazine December issue
FilmWorthy:
The Hateful Eight (65mm) Joy (35mm) Son of Saul (35mm) SW: The Force Awakens (35mm/65mm) The Big Short (35mm)
The Assassination of Jesse James by the Coward Robert Ford (2007)
Directed by: Andrew Dominik Cinematography: Roger Deakins ASC, BSC Cameras & Lenses: Arricam LT / Arriflex 535B, Cooke S4, Arri Macro, Kinoptik Tégéa and Kardan Shift & Tilt Lenses Format: 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 500T 5218) + bleach bypass Mode: Spherical (super35) Aspect Ratio: 2.35:1
Martha Marcy May Marlene (2011)
Directed by: Sean Durkin Cinematography: Jody Lee Lipes Cameras & Lenses: Arricam LT, Zeiss Master Prime and Angenieux Optimo Lenses Format: 35mm (Kodak Vision2 50D 5201, Kodak Vision3 250D 5207, Kodak Vision3 500T 5219) Mode: Spherical (3-perf super35) Aspect Ratio: 2.35:1
What do you think of the movie enemy with Jake Gyllenhaal?
Loved it. Denis Villeneuve made two great movies last year: Prisoners and Enemy. Though it’s not Deakins (like Prisoners or Sicario), cinematography was great. I liked the lighting and that slight yellowish tone they added in post. It was shot digitally on the Alexa with Hawk (anamorphic) lenses.
Leviathan (2014)
Directed by: Andrey Zvyagintsev Cinematography: Mikhail Krichman, RCG Cameras & Lenses: Arricam ST, Zeiss Master Primes Format: 35mm (Kodak Vision3 250D 5207, Kodak Vision3 500T 5219) Mode: Spherical (super35) Aspect Ratio: 2.35:1
Inherent Vice (2014)
Directed by: Paul Thomas Anderson Cinematography: Robert Elswit, ASC Cameras & Lenses: Panavision Panaflex Millennium XL2, Panavision Super Speed MKII and Cooke Panchro Lenses Format: 35mm (Kodak Vision3 200T 5213, Vision3 500T 5219) Mode: Spherical Aspect Ratio: 1.85:1
Mommy (2014)
Directed by: Xavier Dolan Cinematography: André Turpin, CSC Cameras & Lenses: Arricam LT, Arriflex 435 / Zeiss Master Primes Format: 35mm (Kodak Vision3 500T 5219) Mode: Spherical (super35, 3-perf) Aspect Ratio: 1:1 / 1.85:1
Note: While the photos may be displayed smaller (scaled down) on the dashboard, you will see them at full size when you click on the image / full post. Sorry for this annoying tumblr feature.
Force Majeure (aka. Turist) (2014)
Directed by: Ruben Östlund Cinematography: Fredrik Wenzel Cameras & Lenses: Arri Alexa, Hawk Scope Anamorphic Lenses Format: Digital Mode: Anamorphic Aspect Ratio: 2.35:1
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
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
The Double (2013)
Directed by: Richard Ayoade Cinematography: Erik Wilson Cameras: Arricam ST/LT Format: 35mm (Kodak Vision3 200T 5213, Kodak Vision3 500T 5219) Mode: Spherical (3-perf) Aspect Ratio: 1.85:1
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
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
A coalition of Hollywood movie studios is close to a deal to keep Eastman Kodak Co. in the business of producing movie film.
Let's hope there's a future for motion picture film!
Adam Arkapaw shooting True Detective on 35mm film with Panavision Cameras and PVintage lenses.
Paul Thomas Anderson shooting The Master on a Panavision System 65 camera.