HE COMES FROM KIEV

•February 1, 2010 • Leave a Comment

I was luck to meet HEINALI ,young composer from Kiev,on myspace ,he ask me Friendship and as always happen I checked his music..God..he is stunning,poweful , so cinematic ,a sort of Ludovico Einaudi/Arvo Part/David Darling(but that consideration is the  tip of the iceberg) to the nth degree.

He deal with outstanding melodies,with absolute classic and electronic bias , he drawn on the music that i love,so is not hard for me found words for speak about him,so enjoy withWHEN WE WERE GODS,LOVE ON THE SNOW,SHELTER(some with John Murphy’s recall),IN TO THE SEA,THE LOST LOVERS(AMAZING),TO LIVE &  GHOST OF A CHANCE…

1998-2008 My Best lights and Shadows

•January 31, 2010 • Leave a Comment

Last week,American Cinematographer’s last poll ask me “What were the 10 Best-Shot Films of 1998-2008″It was not so simple make this short list..10 movies..not enough,anyway,I leave out some great films as John Toll’s Thin Red Line ;Chris Menges Dirty Pretty Things;Guillermo Navarro’s Pan’s Labyrinth & Dion Beebe’s Miami Vice,I’m trying to list what for me was stunning,look for a mix between landmarks and originality and I hope to have do some good choices,all that DVDs are on my shelves,menawhile I’m thinking that 2007 was just a ordinary year for the cinematography and I skipped any choices in that year…I’m a profane so be patient with my ideas and my english!

OUT OF SIGHT Elliot Davis 1998

THE INSIDER Dante Spinotti A.S.C. 1999 Super 35MM Kodak Vision 500T 5279-VISION 250D 5246 – Panavision Camera and Lenses

THE CELL Paul Laufer 2000 SUPER35MM Kodak Vision 200T 5274 Panavision Platinum – Pan Arri Primos Lenses – Arriflex 535B Arri 435 Cooke S4 Lenses

ALI Emmanuel Lubezki A.M.C. A.S.C. 2001 SUPER35MM Kodak Vision 200T 5274 Vision 500T 5279 Fuji S-F 500T 8572 Panavision XL-Millennium-Panastar (High Speed)-Sony SP900(HD)-Michael McAllister Lipstick Cameras

UNBREAKABLE Eduardo Serra A.F.C. 2002 ANAMORPHIC 2.35:1 Kodak Vision 350T 5277-Vision 500t 5279 Panavision Millennium-GII-XL Anamorphic Primos and Zoom

KILL BILL VOL 1 Robert Richardson A.S.C. 2003 SUPER35MM     (3 Perf) 2.35:1 Mix of Kodak Film stock EXR-Vision and Double X-Panavision Platinum and Primos Lenses
COLLATERAL Dion Beebe A.S.C. Paul Cameron A.S.C. 2004 ANAMORPHIC 2.37:1 HD Thomson Grass Valley Viper – Sony Panavised 24p HDW-F900 Zeiss Digiprimes Panavision Millennium,XL,Pan Arri 435 Primo Lenses Kodak Vision 500T5279 And Vision 2 500T 5218

MEMOIRS OF A GEISHA Dion Beebe A.S.C. 2005 2.40:1 ANAMORPHIC Kodak Vision 2 500T 5218 Vision 200T 5274 Print on Kodak vision 2383,Panavision Platinum ,Millennium and Gold II Lenses E and C Series

DECEPTION Dante Spinotti A.I.C. A.S.C. 2008 2.40:1 HD Panavision Genesis -Panavision Millennium,XL Panavision Primos and Super Speed,Angenieux Lenses Kodak Vision 500T 5229 Print on Premier Vision 2393 and Vision 2383 Digital Intermediate

CLOVERFIELD Michael Bonvillain A.S.C. 2008 1.85:1 HD Sony Cinealta F23,Thomson Grass Valley,Panasonic AG-HUX200 and AGHSC 1U Zeiss Digiprimes and Digizooms ,Canon HD EC lenses,Print on Kodak Vision 2383

Hammock

•January 18, 2010 • Leave a Comment

This is a great video,directed by David Altobelli scoring by a great tune(Mono No Aware) from Nashville band’s HAMMOCK , this kind of sound seem directly linked with my soul,music for my soul…enjoy

I CAN ALMOST SEE YOU

Confrontably HEAT

•January 8, 2010 • 2 Comments

My friend Danny From L.A. turn me this link and I think that’s the most beautiful Fan’s Trailer never done,this guy Stepan850 deserve my space on my blog,HEAT and Pink Floyd lovers please enjoy

Bright 2K10

•December 29, 2009 • Leave a Comment

This is my best wish to all of you,may be a bright 2010 so bright that you need sunglasses for stepping in to your life


Happy Holidays

•December 23, 2009 • Leave a Comment

Here comes Holidays,Cigliano has its snow and chill
(past week at -10°C)
…and that’s enough for a good Xmas background

I’m not sliding over something but this following video and this NEW PATH TO HELICON PT I by my beloved Mogwai(from 1996-2003 BBC Government Commission’s Album) really score my lastest feelings …today I’m feel optimistic

Anyway If somebody ask me to the secret of Happiness my answer is one,Good Music,Health and Friends…the best gift that I can recive,but in case you got some bucks to spend in to one of most compact dslr – like camera,for satisfy you desire of images, please check this device from Samsung,got one under my Xmas tree,and seems a great tool

What a Mistake

•November 25, 2009 • Leave a Comment

That’s one of most beautiful and moving song of this year,Richard God Bless you!

THE BULLET HOLE

•November 22, 2009 • 1 Comment

Imagined of being able to backwards travel in the time carrying with you one of the best high definition camera available on the professional market and, once joints in years 30’s, to begin to resume the moments and vivid colors  of those times. Public Enemies written by Michael Mann, Ronan Bennett and Ann Biderman is drawn from bestseller of Bryan Burrough (the Italian edition published by Sperling Kupfer) and narrates of a country, the States, during the crisis of `the
29, while the bands of brave cold blood’s gangster running with fast car for the cities roads armed of powerful and automatic weapons ,heisting banks and destroying keeping books loans like modern Robin Hood. These will be destined to be confronted with the reaction of Washington and baby FBI with to head a young person and unscrupulous director, Edgar J.Hoover (Billy Crudup) and agent Melvin Purvis (a stoic Christian Bale). A epic as well as bloody-thirsty crash that will carry icone of the imaginary US collective  like the nobleman  John Dillinger (Johnny Deep with an interpretation that goes beyond the reliability of the personage), Pretty Boy Floyd (Channing Tatum) ; Baby Face Nelson (Stephen Graham) behind the slabs or often with their name carved over a tombstone. There is not a nostalgic translation of the facts but the search of the authenticity, of the realism meant also like a refusal of the subjects of conventional beauty (but Polly Hamilton interpreted from Leelee Sobiesky and Marion Cotillard in the role of Billie are both splendid) and of every idealization in favour of a more pragmatic approach, often with an accent on the humble life or the quotidianity, with nearly documentaristic resumptions, for being able to us to render tangible which we are observing. This is the type of concept HD avant garde of sonorous visual authenticity/(powerful and defined sounds effects .45 ACP Tommy Gun included) and novellistic to which Michael Mann, collaborating with Dante Spinotti, it has intentional  join for Public Enemies; the dosed use of the classic conceptualized lighting system, typically named Hollywood’s Lighting, that it sees the use of powerful Beebe Night Lights for the nocturnal ambush to the hut of Little Bohemia in the forests of the Wisconsin for giving priority to the use of the practical natural light/already existing in location and available for that determined scene; being full  of nocturnal scenes of action, the conceptual key for this film is given by reading of the shadows from the support types as high definition, totally and positively different regarding if compared to film and this has allowed a dynamic use of the filmic grammar obtaining a modern film with hyper realistic look that does not get lost in romantic classicism and that it succeeds to conserve solid Manns trademarks beginning from the use of music, symphonic and ambient score by Elliot Goldenthal, music and use of the music that removes the breath for how much guessing, as it always happens in all the works of Michael Mann and that I have already wide dealt. Bravo and expert Italian director of photography Dante Spinotti to its fifth hard work with Michael Mann (Manhunter,the Last of the Moichans, Heat and The Insider) composing the film in format 2.40:1 has used for Public Enemies HD camera Sony F23, excellent for sharpness and depth of field (but also the F950 model with T950 adapter) in coupling to the small (but great) Sony EX1 for inner resumptions happened inside of car, using on these supports Lenses Zeiss Digiprimes and zoom Fujinon HAe10×10 (T1.8), while for any scenes shot in super 35mm with film Kodak Vison 3 500T 5219 has been used film cameras ARRI 435, 235 with the splendid optical Cooke S4 nearly to give a tribute to the past of Manhunter – “With digital cameras, there aren’t any steadfast rules, and I believe that gives me a huge amount of freedom,” he concludes. “The medium is romantic, interesting and beautiful, but it also looks real. And there’s so much you can do in post! Film has a certain kind of quality that cannot be matched by digital technology, but at times, the advantages digital has over film are important for the language and the contents of the story you’re telling, and that determines your choice.
Goes to to Colleen Atwood (already costume designer in Manhunter)the task ,does in excellent way because it becomes woven novellistic, to dress the personages of this film, sons of a casting at least fabulous: concept can be condensed with the face of the characther of Charles Winstead (interpreted from Stephen Lang). The production design, carefully splendid, are by Nathan Crowley (Dark Knigh,Batman Begins, Escape from L.A.) while in phase of pre-production the research work in location sees engaged, like always, Bravo photographer Gusmano Cesaretti that is also in dresses of Co-producer. There is who has compared Michael Mann to an author who prepares itself as Rembrandt and executes like Picasso others like Caravaggio that then is transformed in a Kandinsky, but what is the painting if not the main source through the cinema expresses itself visually? Interesting and true concept because in observing some of they works I have understood the visual process of Michael Mann. A visual and novellistic course ,that one of Mann,made by  a identification’s cinema (the scene of the Biograph Theater is a magum opus), revoluzionized  with ALI, stilized from Collateral and Miami Vice where Hi Def is contemporary phenomenon, witness of the change of our way to frame(shot) the images and transported in years 30’s it works to the perfection and that clean our preconcept been born from the repertory of sgranate, dirty images, sometimes sepia or black white images (than Mann it cites with a editing game during the scene of the extradition in Indiana), and far away from the reasoning that who it has lived those times and places has lived them  to colors and in the high definition of our eye.

MAN(N) OF ART

•November 4, 2009 • Leave a Comment

“Before I started working with him, he was described to me as ‘a director who prepares like Rembrandt and executes like Picasso,’ and I felt that was pretty insightful.”Dion Beebe ASC ,Aug.2004 American Cinematographer Hell On Wheels

Dante Spinotti, Mann’s cinematographer on four of his films, described the director’s visual processes in the following way. “It’s a little like being in front of a Caravaggio scene and changing it into a Kandinsky painting.” [25] The Kandkinsky-like qualities Spinotti is evoking are Mann’s intoxicating passion with the painterly, expressive, plastic possibilities of the cinema, with the way that framing, colour and light can transform a room in a house or a street at night. But while images in Mann’s films can sometimes be abstracted, expressive or surreal they are almost always tied to a character’s point of view, or the mood of the narrative, and always linked to emotion and affect.
MICHAEL MANN Cinema of images by Anna Dzenis

The Keep-The Last of Moichansnarciso1

Manhunter-Heat-Collateral-Miami Vice
kandinsky-wassily-schwerkraft-9979465

The Keep-The Insider-Public Enemies
Philosopher

Jericho Mile-Thief-ALIpicasso32L-Italienne-c-1917-Posters

GooD SamHaiN!

•October 31, 2009 • Leave a Comment