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Video reblogged from D is for Deligtful with 78,122 notes
This is equally as important as that Bill Nye/Jay-Z photo
Photo reblogged from It's a 1st AD thing. You wouldn't understand. with 66 notes
From the set I’m currently working on. RIP Sarah Jones, and to all crew who have died on the job.
Video reblogged from D is for Deligtful with 185,635 notes
everyone needs to watch this video before they log off tonight
well, now I know what I’m doing every time a car alarm goes off
"And so now I live alone in my loveless world, looking for light sources and patches of black, hoping for a signal, wondering whether it will be a spark or a flame or a shadow or a tunnel, all the while feeling utterly unsure of which direction I’ll be headed in once that signal arrives."
Hey guys, I have a website thats been around for a little while. Every month I post a new short story that I wrote.
Here is the latest- http://www.drinkinghearts.com/Light&Power
Video reblogged from Rolling! with 6 notes
On set - in GTA 5
Video reblogged from Kalen blogs now. with 5 notes
Praise You - Fatboy Slim
One of my favorite videos of all time
Video reblogged from stay for the credits with 52 notes
The film’s bold contrast ratios pay homage to classics like The French Connection (also shot by Owen Roizman), and The Pope of Greenwich Village (shot by John Bailey, ASC), while the Panavision C series lenses (developed decades ago, and modernized by Dan Sasaki) softened resolution and increased flaring (like 1970’s era films), while still providing a clean, grainless negative. [Cinematographer Robert] Elswit, and his first-time director Tony Gilroy, culled from New York anamorphic classics, while adding new school touches like invisible Steadicam and digital scaling. “Those films had minimal camera movement and exploited image size changes,” says Elswit, “bouncing in from very wide to very close, for example, to highlight their graphic qualities. Rather than using a standard master and coverage, the shots all stand on their own and that’s what we tried to emulate. Tony even looked through the camera, and screened dailies (digitally projected) every day, both of which seem like rarities for most directors these days.”
“The movies that came out of New York City from 1965 to 1985, were, to me, the creative peak in American cinema,” adds Elswit, “and I wanted to find my way back to those movies, led by the likes of Gordon Willis and Owen Roizman, that I saw in film school.” (via)
Video reblogged from Kalen blogs now. with 1 note
Rapper Proposes To Girlfriend During Rap Battle
Photo reblogged from Kalen blogs now. with 209,236 notes
"Shrouded within the park of Villa Demidoff (just north of Florence, Italy), there sits a gigantic 16th century sculpture known as Colosso dell’Appennino, or the Appennine Colossus. The brooding structure was first erected in 1580 by Italian sculptor Giambologna. Like a guardian of the pond in front of him, the giant is in an endless watchful pose, perched atop his earthy seat.”
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I grew up in a filmmaking family, my dad was a sound designer and my mum did a lot of documentaries so I always grew up with… But I would say as far as my appreciation for going to the cinema is concerned I started very early. In my teens I was skateboarding, I was Norwegian champion a couple of times, and I was doing a lot of skate video. So through there I started shooting, editing and filming those videos and I got into being behind the camera. They were interesting lessons in more of a sort of abstract musical sense, you know, trying to make something look interesting and also cool to look at. Shoot the coolest tricks and make them look good. So I learned a lot from that and then I went on to the National Film School in London and by then I’d done quite a few shorts and it really became my life. It was sort of a lifestyle choice to go into filmmaking.
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