Sean Penn. I would just encourage everybody to be as politically incorrect as their heart desires.


https://variety.com/2024/film/global/sean-penn-marrakech-political-incorrectness-stephen-fry-1236231582/

This board has very few active members these days; so I'm happy to read a new post but also wary that you may find yourself lacking for time if this is a curriculum assignment.

If this isn't on a time crunch, we may get some great conversation stirring.

I used to be a 'shoot on film' purist in my film school days and for the three years after. The cost justifies the beauty of the medium, in my opinon. That isn't just in the way light and colors are captured, or the physical texture of film grain - although these qualities are spellbinding when treated correctly - but also in the beauty of Time. When you shoot on film, you're bound to the length of each film reel. Typically with 400ft of Super 8 film for example you're working with approx 10min of footage you can shoot. That means you have to be very deliberate with the length of each take - and you're possibly even timing out exactly how long your shot will be in the edit. Consider that this applies to 35mm and 70mm as well and you may marvel at Scorsese's long takes set to music in a whole new light. These are feats of performance, camera-team movement, and crew choreography all set to the rhythm of rock and roll.

In almost every aspect of production, what Digital cinemtagrophy has achieved is a sense on On-Set liberation. You're not bound by time. Only batteries and memory cards, which far exceed what you could typically shoot in a day using film.

And that's just the nature of Time. An integral part of our life-experience that also shapes the medium of movies, which can now be ignored and treated trivially. If you get into the minutiae of color, shadow, light, camera placement, and a myriad of other details, you'll find an endless rabbit hole. Suddenly your production can become less about the image and hardwork sculpting light and color on the day of the shoot and instead become a sort of conveyor belt where decisions are left to Post. Or possibly even, have been decided by computer animation teams during Pre-Viz. Obviously some directors like David Fincher and Steven Soderbergh absolutely champion 'digital' as the proper evolution for cinematography. Others, like those working on disposable streaming shows, are working within the confines of the industry's budget expectations moreso than a sense of artistic accomplishment.

All this to say, digital cinematography has expanded possibilities while also diminishing the science of cinematography. Some may say it's merely 'changed' the science. It's a matter of perspective and taste as to what the 'craft' of cinematography involves. Reknowned cinematographer Steve Yedlin has an abundance of resources online for those looking to learn about the possibilities of digital cinematography. With proper work ethic, digital can be just as transporting as film.

But what digital has yet to prove its mettle-worth, in my opinion, is the Veil into another world.

Using Handicam, Lynch's Inland Empire emphasized than an imperfect digital image is as surreal as any nightmare. Then, Twin Peaks: The Return is shot on pristine Arri Amira digital, and aims to be surreal within the look of a cable soap opera. Does The Return's image evoke the veil of dreams as well as its original series? I guess it's up for debate.

Hello there,

I have been diving deep into the evolution of cinematography; particularly the shift from traditional film to digital formats, and I wanted to get your thoughts on this topic. It is clear that digital filmmaking has significantly impacted the industry, both in terms of accessibility and creative freedom. However; I am curious about the broader implications of this transition.

For starters; digital cinematography offers a lot of advantages in terms of cost-effectiveness; speed; and flexibility, but at the same time, some filmmakers argue that it's changed the way stories are told. From a technical standpoint, digital cameras offer incredible resolution and color accuracy; but does this remove some of the tactile, organic qualities that film has traditionally brought to the screen?

I have heard directors and DPs talk about the unique texture of film stock, and I wonder if digital formats can truly capture that same feeling or if it's just a different aesthetic.

Also, I have gone through this post; https://xixax.com/index.php?uipath=5473.0 which definitely helped me out a lot.

Also; what are your thoughts on the impact of digital technology on the creative process? With the ease of digital editing and the ability to shoot countless takes; has this led to more experimentation and spontaneity, or has it made some filmmakers overly reliant on post production to fix mistakes?

Thankyou in advance for your help and assistance.

Jim Abrahams (AIRPLANE! and many others)

Timecode: 1h 21m 40s.  There is a cross fade.  Look at Domino's arm.  (Is it Domino or Mandy?).  What up wit dat?

Just got back from a rewatch at the cinema.

When Anora is framed by the courthouse pillars - caged in by the reflection - my heart drops. What a great movie, and iconic performances from Mikey Madison and Yuriy Borisov.

cross posting my letterboxd thoughts from my first watch here:
Semiotics of repression illustrated out as a failed Marriage Plot. Actually more harrowing than an initial watch can let on; especially watching with a crowd. Edited as a comedy, but performed with the emotional and physical hurt of complete oppression.

My guess is that Mikey's performance will stand out, and rewatches will prove its mettle as not a Love Story but a Betrayal. Anora is marked by her resilience and will. What it lacks in characterization it shapes in conviction.

Quote from: WorldForgot on August 12, 2024, 02:59:41 PMSurely BC Project will have some Salo in it too

Hic aliud maius miseris multoque tremendum
obicitur magis atque improvida pectora turbat.
Laocoön, ductus Neptuno sorte sacerdos,
sollemnis taurum ingentem mactabat ad aras.
Ecce autem gemini a Tenedo tranquilla per alta
(horresco referens) immensis orbibus angues
incumbunt pelago pariterque ad litora tendunt:
pectora quorum inter fluctus arrecta iubaeque
sanguineae superant undas; pars cetera pontum
pone legit sinuatque immensa volumine terga.
Fit sonitus spumante salo;

salo / the open sea, the deep.
σάλος / rolling swell of the sea.

Edwina Gough Anderson (Paul's Mom)

(Kudos to Drill for spotting this.)