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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

The single greatest SHOT ever...?

-scorcese's 'goodfellas' sequence when ray liotta and lorraine bracco walk into the club through the back of the place and walk across the kitchen etc... it's at least five minutes long... incredible!
-'children of men's war sequence is also pretty damn awesome!!
-not to mention 'cinema paradiso's kiss sequence in the old theatre...
-pick any one of kubricks shots...
-chinatown is full of incredible stuff......
-many 'requiem for a dream' sequences are pretty bad ass......
-pick any shot from sergio leones films...
-what about the 15 minute rape scene from 'Irreversilble'... probably the most unwatchable shot ever... not because it's bad, but because it's so damn repulsive!!
 
on the action side, how about the through the window shot in Bourne ultimatum with the camera jumping right behind Bourne ?
Aloha
-A
 
Don't know about "greatest", but a VERY long and ingenious tracking shot in "I Am Cuba", which no one ever forgets -- starts at a ground level street demonstration, moves high up the side of a building, tracks laterally over the parapets, enters a top floor Havana cigar factory, moves through it as the workers unfurl a banner, and then continues out the window, and high above the demonstration, moving with no apparent means of support, until the shot finally fades out.

There's another one which starts on the top of luxury hotel (pre-Castro days), where a bikini pageant is going on, and ends up at the bottom of a swimming pool, at ground level, but that's just a warm-up....

Note that all this pre-dates the steadicam era.
 
For me, the Conformist has some wonderful visuals in it. Vittorio Storaro does some really visually stunning work in this film.

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Vitorio Storaro is our greatest teacher.

Just try to get focal length for all those snap shots:

24 mm, 28 mm, 35 mm, 40(2) mm, 50 mm, 60 mm, 75 mm, 85 mm, 90 mm...primes and macros...etc.

That's all you would need to use for a film drama like this.

No zooms!!!

Also Roger Deakins ASC, BSC teaching us about using the prime lenses too:

"I generally use the fastest and cleanest lenses I can get. Nowdays I use the Cooke S4s and the Master Primes.
As far as focal length goes I like to shoot mostly on the 27, 32, 35,40 and 50mm. It will vary greatly from film to film but these lenses I use the most. I rarely use a zoom and prefer to change focal length by changing my prime lens. I think working this way tends to focus you on why you are placing the camera in a particular position and why you are choosing a particular focal lengh. Just to zoom in for a close up from the same position as the wide shot is, to my way of seeing, just sloppy."

QUOTE>>>LINK>>>
 
Not to be forgotten,
Vitorio probably shot The Conformist using a film like eastman kodak 5254,
Turd of a film stock, short dynamic range, major colorshifts per batch,
highlight blowouts, I can go on. But he's managed to use the limitations of
these early filmstocks to creative advantage on Conformist.
Degree of difficulty X2 compared to shooting on modern film stocks.
This is the era of unusable high speed color film stocks so most of what
you see above would be 100 ASA stuff.
The guy's scary.
Conformist is a great example of what can be done with a short dynamic range color imaging system with a tendancy to blow out (clip) highlights and new to the market in 1971.
Anything sound familiar here in 2007/8?
Mezmo
 
Excellent point, Mez. But for those of us who have seen Crossing the line, understand that the limitations of the red when compared to film can be overcome with talent.
 
Can we get this thread moved to the new Cinematography section?
 
White of Eye

White of Eye

'White of the Eye' directed by Donald Cammell, has some of the most striking images as well as being a one-of-a-kind viewing experience.. an austere, bizarre, horrifying puzzle-box of a film.
 
I cannot wait to see Atonement! I skimmed over the article in the new AC, and saw the layout for that shot... impressive!
 
The whole movie is incredible, it is plotted in a very smart and surprising way - you actually don't understand what is it all about until the very end. And then - it cuts like a knife... at least for me.
This guy Joe Wright is just 35 and wow! - he's a f*cking master already!

Gorgeous visuals, gorgeous...

I'm definitely gonna see it in the theater, after seeing it in the... urgh... umm.. well, I'm definitely gonna see it in the theater :).

Happy New Year. :watsup:
 
karapetkov said:
Atonement: The 4:30 min. stadycam shot of Dunkirk.... WoWzy!!!! :)

Check this one out. Pure cinema...
Click to expand...

Saw Atonement over the weekend. Really liked it. That Dunkirk continuous shot was amazing!

There was this great long shot in "Children of Men", towards the end with the crying of the child that I liked.

Though not particularly long, certain shots from Terrence Malick's "The Thin Red Line" are still so vividly etched in my memory that I always think about them.
 
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