BLACKHAT TRIBUTE

BLACKHAT TRIBUTE

BLACKHAT INVISIBLE STAIN

ANOTHER TRACK(From WE CUT THE NIGHT Album) COME TO VISIT ME AND SUDDENLY I HAVE A SPECIAL NEED TO DO THIS MASHUP, SO I SPENT A COUPLE OF HOURS IN MY AVID STUDIO AND I GUESS THIS IS ONE OF MY BEST TRIBUTE.ENJOY THIS MUSIC FROM FRENCH BAND AaRON and THIS OUTSTANDING AS UNDERRATED MOVIE BY M I C H A E L  M A N N

VOL 90 ( 2009 ) FROM ASC CLOSE UP-BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 90(2009)

What’s The Best Professional Advice you’ve received?

GABRIEL BERISTAIN, ASC, BSC

Kate Nelligan , a superb actor, once told me that if I could light women beautifully, I would not help many careers, but I would also definitely help mine.

PETER SUSCHITZKY, ASC

I Was once invited to a dinner where Billy Wilder was one of the guests.He asked me what I was doing, to which I replied, ‘Oh , a small movie’ He said,’ There’s no such thing, just good ones and bad ones.’ For the rest, I listened to an inner voice that said,’Develop as many interests as you can, as you will need them to fill the long gaps between movie and enrich life in general.’

PETER  WUNSTRORF, ASC

‘Be Yourself’. I was about to interview for the aforementioned pilot (Millennium), and I was nervous.;my Good friend Dominique Fortin said, ‘Just be yourself;they will like you.’ I didn’t try to fake it. I thought it went badly, but in prep, the producer told me, ‘You came in and only spoke about the work,and that’s all Chris Cater cared about.’

THOMAS ACKERMAN, ASC

Legendary gaffer George ‘Popeye’ Dahlquist used to tell his lamp operatos ‘Boys,if you’re not 10 minutes early,you’re 10 minutes late.’Readiness is a big part of what we do.

JOHN LINDLEY, ASC

When I wanted to quit a miserable show, the director, Virgil Vogel,said,’Kid, never quit.If you have to leave, get fired.If you quit,it will always reflect on you.’

ALAN CASO, ASC

From John Frankenheimer: ‘Alan, whatever you do in this business,don’t ever let them push you into shooting something you know is just bad,something you’ll end up regretting or hating.Simple rule of thumb: ‘don’t shoot s**t!’

MARK IRWIN, ASC, CSC

When director Gil Cates chose me to shoot a love story starring Bea Arthur and Richard Kiley, he said he liked what i’d done on The Fly.I reminded him that Jeff Goldblum and Geena Davies were in a horror film, not a love story.He said,’No,they were in love, and that’s what the audience saw. Sometimes you have to ignore the words and let the pictures tell the story.

AARON SCHNEIDER, ASC

When I was starting out, a veteran first assistant  told me the 2-make Rule,’ make your leading ladies look beautiful and make your day.’

ALEXANDER GRUSZYNSKI, ASC

I think it was Sven Nykvist, ASC who once said, ‘Take chances, but when you do, lower the ASA settings on your light meter.’ To this day, no matter how great the latitude of the film stock is, I always calibrate my meter to a lower settings than what the manufacturer recommends.

ANASTAS MICHOS, ASC

I was working with Don McAlpine,ASC,ACS, and getting impatient watching the director, producer and assistant director endlessly discuss the next setup. Don turned me and said in his inimitable Aussie drawl,’Relax: Sooner or later they’ll have to come over to talk to us.’

PAUL RYAN, ASC

Michael Chapman, ASC said ‘You have to give the impression you know what you’re doing even when you’re totally confused.’

To Be Continued… –つづく…

VOL 89 ( 2008 ) FROM ASC CLOSE UP-BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 89(2008)

What’s The Best Professional Advice you’ve received?

GLEN MacPHERSON, ASC

‘Keep it Simple’. it’s Always exciting to try a new piece of gear, but sometimes two grips pulling a camera on a blanket is stille the best solution.

TORBEN JOHNKE, ASC

I once worked with Irvin Penn, who told me a simple rule: less is often better.He used a single soft light for most of his shots. We shot a number of Pepsi commercials that way, and those spots won several Clios.

WAYNE KENNAN, ASC

Right After I was accepted into the union as an operator, I was offered a job at Warners as An Assistant. I needed a letter from a producer to re-rate me.The Producer told me I’d be an idiot not to pursue operating because it might take me 10 or more years to ge there again.He was right;it was a struggle. But I established myself as an operator and was working steadily within a year.

RODNEY TAYLOR, ASC

When Leavie Asked me to work with him at Corman’s, the pay was 50$ a day.Levie said,’They’re not paying for experience .Take the job and you’ll meet people.’

ANTONIO CALVACHE, ASC, AEC

This is directly related to my memorable blunder. When Conrad Hall ASC gave me a lecture at AFI, he was asked what a single piece of advice he’d give to aspiring cinematographer.His answer :’Get Enough Sleep.’

ROB MacLACHLAN, ASC, CSC

My Dad told me it did not matter what I did for a living as long as I loved it.Also, much later, Richard Leiterman caught up with me at CSC Awards, where I’d  just gotten my fourth consecutive  award for TV series and was on a bit of a roll. He told me not to ‘get too damn comfortable’ and to ‘get the hell back to the USA while ya can!’ A year later, I was divorced, living in my native California, doing my most satisfying work ever, and shooting a big studio feature. My career and life have only gotten better since that.

BILL TAYLOR, ASC

When I asked Freddie Francis for his secret to glamour lighting, he said, ‘Put a great Big light over the lens. And get Brooke Shields if you can.’

JOHN S.BARTLEY, ASC, CSC

‘Light the Set, then turn off half the lights and shoot.’

PETER KOZACHICK, ASC

At ILM, Dennis Muren, ASC had a simple, powerful phrase:’ One Shot, one Thought.’ When we lapse into gliding the lily on a setup, that quote provides a reality check.

ROSS BERRYMAN, ASC, ACS

‘Be nice to people on your way up because you never know who you’re going to meet on the way down.’

VICTOR GOSS, ASC

When I was becoming successful shooting commercials, a wise producer friend learned over in a screening room once and whispered ‘Don’t let this go to your head.’About 23 years later, I figured out what he meant.

DONALD McALPINE, ASC, ACS

The late and wonderful Phil Gersh, my agent for many years, listed the directors one should avoid working with. I’m not going to publish that list.Reports and anecdotes over the years have been an indication of grief avoided.

To Be Continued… –つづく…

VOL 88 ( 2007 ) FROM ASC CLOSE UP-BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 88(2007)

What’s The Best Professional Advice you’ve received?

RON DEXTER, ASC

While I Worked in construction with my dad, he told me that if I gave customers more than they bargained for, they would return and never question the bill. I worked with some of the same commercial-agency clients for 30 years.

Feb. Vol 88#2 NOT AVAILABLE NOT EDITED ON THE ISSUE

HIRO NARITA, ASC

I Was invited to join the cinematographers shooting The Last Waltz , for which director Martin Scorsese prepared an elaborate shooting script for each camera position and every performer.David Myers, an accomplished and wise cameraman of much greater experience than I at the time, took me aside and whispered, ‘Go with your instincts.’ His advice stays with me even today.

VINCENT COX, ASC

‘There are never any problems,only solutions’

NANCY SCHREIBER, ASC

Never take rejection personally if you don’t get a job. There re so many cinematographers vying for so few jobs, and there are many forces at work that have nothing to do with one’s talent.

RICHARD P.CRUDO, ASC

Never give up. Always keep a positive attitude. Attention to detail.

DAVID STUMP, ASC

The thing that makes you a filmmaker is the act of making a film.

BILL ROE, ASC

Don’t be afraid to push yourself and trust yourself.

Sept. Vol 88#9 NOT AVAILABLE NOT EDITED ON THE ISSUE

JOHN BAILEY, ASC

Early in my carer, as an assistant doing commercials, I found myself sitting at the top of a Titan Crane next to the great Phil Lathrop, ASC waiting for the sun to set for a wide beauty shot of cars. He sat there patiently behind the lens. I learned toward him and said, ‘I’m just starting in the business and hope someday to be a cinematographer.What advice could you give me?’ He looked at me and so hard I felt like bailing off the crane.’Only one thing, kid,’ he said. ‘Sit down whenever you can’

JOHN HORA, ASC

‘It’s only a film, ‘which, coupled with ‘This too will pass,’ pretty much takes care of it.

CHRISTIAN SEBALDT, ASC

My Dad told me:’ Always be prepared, do your homework.’ I can only do my best if I know what a scene is about, what the purpose of every shot is, how it needs to advance the story and how it fits into the over-all editing puzzle.

To Be Continued… –つづく…

COLLATERAL MUSIC FROM THE MOTION PICTURE COMPOSED BY JAMES NEWTON HOWARD (INTRADA ISC 352)

COLLATERAL MUSIC FROM THE MOTION PICTURE

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FROM INTRADA RECORDS ISC 352

After 12 Years from the first release by HIP O RECORDS UMG,here comes the complete Works for Michael Mann’s COLLATERAL composed by James Newton Howard(Antonio Pinto and Tom Rothrock things here are not included),  published by INTRADA RECORDS and produced by DOUGLASS FAKE and ROGER FIEGELSON and for  Paramount Picture by RANDY SPENDLOVE Special Thanks including MICHAEL MANN of course.This CD contain 22 Tracks and a great exhaustive booklet ; a sort of Swag for lover like me with 20 pages of cool pic,info and  things . Some of my favourite Track  for now are Max and Vincent Talk,Sylvester Clarke,Race to Annie and really this Music fit for my tastes, some of the music present in this soundtrack in any moments bring me back me to 70s tv show like a sort of Quincy Jones/Lalo Schifrin meet Tangerine Dream ,that’s a matter of time..once again and since his first Major motion picture (THIEF) Michael Mann  leave me without words for describe his outstanding and incomparable choices  also in music..my nuts never go!

Collateral Booklet

COLLATERAL ON LINE TRACKS

MUSIC FOR SOUNDTRACKS

MUSIC FOR SOUNDTRACKS TIPS

DARDUST (ITALY)

I WAS IN TO A BAR SIT AND READING A NEWSPAPER THEIR MUSIC CAME FROM THE TV SET AND TAKE ME…GOD BLESS SHAZAM AND WHEN MUSIC COME TO VISIT ME.OUTSTANDING KEEP AN EYE AND HEAR THEM.

MOKADELIC(ITALY)

FROM ROME THEY ARE WORKING FOR STEFANO SOLLIMA‘S GOMORRA TV SERIES AMAZING MUSIC(DOOMED TO LIVE) , SUPPORT THEM

ENRICO ASCOLI(ITALY)

HE’s FROM MY AREA ,NEVER MEET BEFORE, BUT THIS TRACK HAVE REALLY SHOCKED ME

 

MARIANO NUNEZ-WEST (Argentina)

NOW HE’s BASED AS TUTOR AT GOLDSMITH UNIVERSITY OF LONDON ,HE’s THE AUTHOR OF 1997 GUSTAVO MOSQUERA ‘S MOEBIUS SOUNDTRACK ,AMAZING MOVIE

 

JULY SKIES (England)

UNFORTUNATELY I NEVER HAVE THE LUCK TO MEET THEM ALSO IF THEY BEEN IN RIMINI(2012) FOR ONE SHOW,BUT I MISSED THE APPOINTMENT FOR LOGISTIC REASON; SO IN THESE YEARS I HAD SOME GREAT EMAILS WITH THEIR LEADER ANTONY HARDING  AND HAD BEEN LIKE SHAKE HANDS (HE’S SO GREAT MY NAME IS ALSO CREDITED IN TO THE WEATHER CLOCK EP ).SO CHECK THEIR DISCOGRAPHY FOR UNDERSTAND THE SKYEY OF THEIR MUSIC

GIGI MASIN TEMPELHOF(ITALY)

GIGI MASIN VERY INTERESTING COMPOSER , I HAVE A CHANCE TO LISTEN HIM AT SUPERBUDDA TORINO  MAY 2015 AND HE REALLY IMPRESSED ME , KEEPING SOME GREAT PERSONAL MODULES IN HIS MUSIC THERE ARE SOME ZIMMER AND NEWMAN REMINISCENCE .. TEMPELHOF IS THE ENSEMBLE  WHOM HE HAVE THE MOST FLUENT COLLABORATION

To Be Continued… –つづく…

 

 

 

HYMN TO THE SNOW -FZ200 TEST AT 100 FPS

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PANASONIC LUMIX FZ 200

TESTING

FIRST SNOW AT 100 FPS 720 P 5 MARCH 2016 CIGLIANO