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What are your favorite shots in a movie?


John

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6 minutes ago, Naïve Old Fart said:

Agreed, but, definitely, no smiling Arnie!

 

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Nothing wrong with this whatsoever, what are you talking about?

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3 hours ago, Naïve Old Fart said:

@Stu, are you sure it's not Sven Nykvist? :lol:

Seriously, though, which film is that?


Woody Allen’s Interiors.  Considering how indebted it is to Bergman, the Nykvist comparison is spot on (and Allen would later work with Nykvist on several films).  But this is during his run of films with Willis.

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Thanks for that, @Stu.

As much as I like Willis' overall work, I still think that his magnum opus (and I'm including the Godfather trilogy and ALL THE PRESIDENT'S MEN) is MANHATTAN.

Every time I watch it, I want to commit interstellar perversion with Diane Keaton :lol:

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Let's do something different! Not a favorite shot ...

 

The whole lighting (and production design too, BTW) in this scene (the entire scene) in Blade Runner 2049 has always baffled me. It's completely flat, dull and lifeless. Even on a basic level, the lighting is boring.

 

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To make things come alive in the original movie, Ridley Scott always used smoke, rain, shaft of lights, blinking neon, ... 

 

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To me, it's the color grading.  You know that satisfying feeling when you peel the protective vinyl off a new device screen and it looks so clean and clear?  I want to do that to that picture. Just peel away the teal.

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I don't think I ever had a problem with color grading, as long if it's part of the original movie, that is, because sometimes they change the look of a movie during remastering. And while I see color grading as a creative tool (today more than ever) and part of the mood or feel the filmmaker wants to convey, the Final Cut of Blade Runner doesn't look anything like the original movie in 1982.

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33 minutes ago, AC1 said:

I don't think I ever had a problem with color grading, as long if it's part of the original movie, that is, because sometimes they change the look of a movie during remastering. And while I see color grading as a creative tool (today more than ever) and part of the mood or feel the filmmaker wants to convey, the Final Cut of Blade Runner doesn't look anything like the original movie in 1982.

 

Interesting, could you clarify more what you mean?  Are you saying the Final Cut has been graded in a revisionist way?  I haven't noticed personally, the way I have with the original Star Wars trilogy.

 

 

That frame from 2049 above looks like it could've been pulled from Solo: A Star Wars Story.  It is very dead looking.

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7 minutes ago, Naïve Old Fart said:

If that is the case, then why are cinematographers getting nominated for films which have been altered, and, potentially, bear little resemblance to their original work?

 

Drastic or subtle, color grading is the finishing touch that the cinematographer makes (with the approval of the director). 

 

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A tweak here and there, I have nothing against.

For the longest time, I didn't realise that the entire pre-title sequence of DAD was graded digitally. I didn't mind this as it suited the atmosphere of the sequence.

There comes a time, however, when, if the image that is projected in cinemas is so far removed from what was shot, and can be altered in post, then the cinematographer becomes redundant, and no film is "photographed", anymore.

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9 minutes ago, Andy said:

 

Interesting, could you clarify more what you mean?  Are you saying the Final Cut has been graded in a revisionist way? 

 

Exactly. If you have the box set containing the original(s) and the Final Cut, you can compare all the different versions and see the difference . Scott says he always wanted to color The Final Cut this way (rather blue-ish) but back then there was no time. Alien has been newly color graded as well. 

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9 minutes ago, AC1 said:

 

Drastic or subtle, color grading is the finishing touch that the cinematographer makes (with the approval of the director). 

 

 

Is that always the case, though?  I have two assumptions I'm not 100% sure of:

 

1. Color grading generally happens in post-production alongside editing and is often futzed with right up until the end

2. Cinematographers are generally only on a project for the actual production/filming, then they move on, and are usually not present during post

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13 minutes ago, Andy said:

 

  I haven't noticed personally, the way I have with the original Star Wars trilogy.

 

 

Personally I was vey impressed with the 4K versions I saw on Disney. They look like they were shot yesterday.

 

3 minutes ago, Stu said:

 

Is that always the case, though? 

 

 

 

Unless the project is taken out of their hands, yes. 

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15 minutes ago, AC1 said:

Personally I was vey impressed with the 4K versions I saw on Disney. They look like they were shot yesterday.

STAR WARS especially looks very dull compared to 4k77. The OT problem he was referring to was the pink oversaturatedness of the DVDs and blus I assume.

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5 minutes ago, Naïve Old Fart said:

Isn't that the point?

I don't want the OT to look as if it was shot yesterday. I want it to look as if it was shot in 1976, 1979, and 1982.

 

In 1977 Star Wars looked like it was shot yesterday in 1977: A fresh, clean and undamaged print, not yet subjected to decay. Watching (checking actually) the 4K versions on Disney felt like the movies didn't age a day. That's what I meant. 

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19 hours ago, Holko said:

STAR WARS especially looks very dull compared to 4k77.

 

That's because Lucas used the 4K remaster to take the saturation out of the skies in any shot of Tatooine: appearantly, early on in the Tunisia shoot in 1976, a storm dusted up the skies and created this dull look that Lucas deemed appropriately otherworldly, but which was not maintained throughout the shoot (and certainly not in subsequent visits to Tatooine) as the storm died down and as about half of the shots were ultimately done back in the US.

 

Such a silly man: yes, I guess it does look kinda otherworldly, but its also dull. Totally takes out whatever joy there could have been in the desert cinematography, which in some of the entries (ahem, Attack of the Clones) is one of the few good things in the movie! Talk about cutting your nose to spite your face!

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11 hours ago, AC1 said:

The Legend Of 1900 ... Marian's favorite movie.

 

Not my single favourite, but certainly an eternal member of the club of my special favourites. And stuff with gorgeous shots like a Leone film (plus some of the shoddiest CGI I've seen).

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I know, I know.

I was pretty sure, but not 100%. Because of the steeltown, and Vietnam, settings, it's often regarded as an bit of an ugly film, but these stills are really quite beautiful.

Zsigmond's cinematography is almost as good as CE3K...almost...

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There's some striking stuff in the Vietnam scenes as well, and a couple that I would have included but couldn't find on Google. But the hunting/nature scenes are clearly designed for maximum contrast to those. And I'm always game for a good split diopter shot.

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@Marian Schedenig, what film are there shots from?

 

 

 

 

 

On 23/04/2018 at 7:10 PM, JoeinAR said:

I personally thought automatically of Jaws when the camera shoot through  the great white shark jaw in Quint's bathhouse.  Its a beautifully shot sequence in that near perfect film.

Now, just a damn minute!

Wha'da mean "near perfect"?

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It's amazing how, just by letting her hair down, Rachel's entire character changes.

 

23 minutes ago, AC1 said:

 

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This in 70mm was indescribable.

Agreed, but it wasn't as jaw-dropping as the opening shot of L.A., or the ball of flame reflected in the eyeball.

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12 minutes ago, Naïve Old Fart said:

It's amazing how, just by letting her hair down, Rachel's entire character changes.

 

Agreed, but it wasn't as jaw-dropping as the opening shot of L.A., or the ball of flame reflected in the eyeball.

 

No, but the opening shot of L.A., jaw-dropping as it was, didn't make me teary (for the reason you state with your first sentence).

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