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
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
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
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.
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.
Amazing series of videos on Borealisk's Vimeo channel. This is about Robert Richardson's style (known for Quentin Tarantino & Martin Scorsese films).
George Washington (2000)
Directed by: David Gordon Green Cinematography: Tim Orr Cameras: Arriflex Cameras, 2.35 Research Lenses, Moviecam SuperAmerica, 2.35 Research Lenses Format: 35mm (Fuji Eterna & Vivid) Mode: anamorphic Aspect Ratio: 2.35:1
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
amazingcinematography reblogged
One of two custom built Blacked-Out Panavision Panaflex XL cameras forStar Wars Episode VII. This is the A-Cam, nicknamed “Death Star”. The upcoming Star Wars will be shot on Kodak Motion Picture Film 5219 by cinematographer Dan Mindel, ASC, BSC. (via)