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Photo reblogged from D is for Deligtful with 196 notes
Submitted by pechente
Words can’t express.
Gotta get that shot.
Most hardcore dolly grip/landscaper ever.
Quote reblogged from Kalen blogs now. with 3 notes
We directors have a very large responsibility. We have it in our hands to lift the film from industry to art… We must want something, we must dare something, and we must not jump over where the fence is lowest.
Video reblogged from D is for Deligtful with 91,912 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 68 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 228,670 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)
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