Shot on fucking film

Started by wilder, July 16, 2015, 04:03:53 AM

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Kodak has a new app, Reel Film, that helps you find 35mm screenings in your area


So far this year: Baby Driver, The Beguiled, The Lost City of Z, I, Daniel Blake, and upcoming:


"Tragedy is a close-up; comedy, a long shot."
- Buster Keaton



Cool how many projects made celluloid this year:

Baby Driver
Battle of the Sexes
Beach Rats
The Beguiled
Call Me By Your Name
The Florida Project
Good Time
I, Daniel Blake
It's Only the End of the World
Justice League
The Killing of a Sacred Deer
The Lost City of Z
The Meyerowitz Stories
Most Beautiful Island
The Other Side of Hope
Patti Cake$
Phantom Thread
The Post
Star Wars Episode VIII: The Last Jedi
Wonder Woman


Quote from: pete on August 03, 2017, 03:24:29 AM
my friend shot this

That link is dead but it's here



From IndieWire:

Quote"The Lighthouse"

Dir: Robert Eggers, DoP: Jarin Blaschke

Format: 35mm Black and White (Double-X 5222) 1.19:1 Aspect ratio. Essentially the anamorphic gate with spherical lenses.
Camera: Panaflex Millenium XL2
Lens: Bausch and Lomb original Baltars set, optically re-spaced for a spinning mirror camera. 35mm, 58mm, 85mm Sasaki-made Petzval lenses. 50mm Pathé-Goerz Triplet
Custom short-pass, orthochromatic-emulating filter from Schneider.

Blaschke: A critical part of Rob Eggers' films is the full immersion of the audience in another world. He wanted a black and white movie from another time and traditional black and white film was the only way to do it. There is nothing with the same tonality and texture – this was solidly confirmed with tests against color film and digital formats. Double-X is 60 year-old technology, for better and worse. It looks perfect for what we were after, but light levels were necessarily 20 to 40 times higher than on "The Witch," and underexposure latitude was much less forgiving. This forces harder, more "lit" looking night scenes, but that was embraced as part of our "Lighthouse" world.

I actually wanted the Double-X to behave like an even older film stock, so a filter was made to prevent all red light from reaching the film. This emulates pre-1930s orthochromatic film that couldn't see orange or red light. Therefore, skies become much brighter and skintones become darker and more rugged/textured. This was another critical element that makes the film feel more broken-down and distant. Balancing the harshness of the film and filter were a set of Baltar lenses that were designed in the 1930s. These are the most luminous portrait lenses I've ever seen, and they add another glowing texture and dimension, rather than cheap gauze. For some hallucinatory sequences we used some 1870s-1900s -style optical designs.

Finally, our aspect ratio suited our boxy spaces, our vertical lighthouse and close-ups in general, which are more numerous this time around. This is a more "photographic" movie than our last together and the 5:6 ratio feels like a window or peephole into the film, echoing the theme of lenses, eyes, openings and apertures that developed. Because of this and other things, the film visually moved from the 1890s toward the 1930s, but in the end I think it created its own kind of past, its own "other" world.



To be fair, most of Québécois wunderkind Xavier Dolan's worst tendencies are on display in "Matthias & Maxime." It's a polarizing film sure to be abrasive to many, and yet I completely surrendered to this full-hearted romance. After the dismal theater adaptation "It's Just the End of the World" and a flop sojourn to Hollywood with the as-of-yet-unreleased "The Death and Life of John F. Donovan," the Canadian director successfully returns to his Montreal and queer-themed roots. Dolan himself plays the titular Max—a more adult, dignified turn for the former voice actor—who discovers romantic feelings for childhood friend Matt (Gabriel D'Almeida Freitas) on the eve of departing to Australia. The soundtrack—Arcade Fire, Britney Spears and especially Phosphorescent, one swoons just thinking of its placement—is ace, drawing you further into the melodrama when it could just as easily play like cliché. It's a critic-proof film replete with formal experimentation and romantic abandon. A magnet for criticism, Dolan just doesn't seem to care; "Matthias & Maxime" bravely strives to reach higher tonal registers and mixes in new visual novelties like snap zooms and gleefully indulgent slow-motion sequences. Props as well to the production for bringing a 35mm print to Cannes, making it the only feature besides "Once Upon a Time... in Hollywood" to be projected on celluloid. Dolan's collaboration with cinematographer André Turpin is also woefully under-recognized, and it's a real treat to see Turpin's images on film proper.



Ad Astra
The Beach Bum
Chained for Life
Her Smell
The Irishman (partial)
The Lighthouse
Little Women
Marriage Story
The Mountain
Once Upon a Time in Hollywood
Queen & Slim (partial)
Ray & Liz
The Souvenir
Star Wars Episode IX
Uncut Gems
Velvet Buzzsaw