MY FAVOURITE THINGS FROM – N E T F L I X –

I’M NOT A NETFLIX ADDICTED IN MY VIEW IS TOO MUCH EXPANSIVE AND THEY TREAT AUDIENCE LIKE WE NEVER BEEN AT THE MOVIES,ESPECIALLY FOR SOME RIPPED OFF NETFILX MOVIE SUBJECTS(AND ARE NOT BETTER IDEAS), HOWEVER THEY HAVE BROADCASTED , LISTED OR PRODUCED SOME REMARKABLE THINGS OR SERIES THAT I WOULD LOVE TO REMIND AND REALLY DESERVE THE PRICE OF THE TICKET.

RICK AND MORTY 1,2,3

 

 

 

 

BLACK MIRROR

 

 

 

 

 

ONE PUNCH MAN

 

 

 

LOVE DEATH + ROBOTS

 

 

 

 

STRANGER THINGS 1,2,3

 

 

 

 

MINDHUNTER

 

 

 

 

LOST IN SPACE

 

 

 

 

suburra

FILM PUSHED AT 2000 ASA

PANDORUM(2008) Directed by Chris Alvart cinematography by Wedigo von Schultzendorff BVK was shot on Kodak Film stock Vision 2 500T 5218 70% of the films exposure is rated at 2000 ASA .Filmed with Super 35,Spherical Master Primes and Arriflex 435 film cameras


HEAT(1995) Directed by Michael Mann cinematography by Dante Spinotti ASC AIC, was shot on Eastman EXR 500T 5298 film stock the exposure is rated at 2000 ASA.Filmed with Cine SL-35 Camera, Panavision Panaflex Platinum Camera using lenses Panavision Anamorphic Super High Speed Lenses, Panavision E Series Anamorphic Lenses and Panavision Primo Anamorphic Lenses.

 

Force processing and Flashing ,Force Processing is also called pushing, is the more common of the two. The easiest way to explain this is that if you find yourself in a situation where you don’t have
enough light, you can underexpose the film and then ask the lab personnel to “push”it. They would leave the file in the developer longer, overdeveloping it. The staff atmost labs have substantial experience with this and can be quite precise in how theymatch up what you have done with how they process the film. Care must be taken
when you do this, however, because the quality of the image will change from the film
that has been normally exposed and normally processed. The film will have a diffe
rent
Look, Leaving the film longer in the soup (slang for the developing chemicals) generally
increases contrast and creates more visible grain. As always, you have to think about
how the pieces will match up with other things you are shooting,
Most DPs push film because they are trying to achieve a specific effect. It is great
for producing a grainier, more abstract image. In cases like this, you build that stop
(or stops) of underexposure into your filming by changing the films El. This relates
to the concept of halving and doubling . Every doubling or
halving of EI represents an f-stop, and you change the El rather than make the mental
Computation each time.If you have a film stock normally rated at 500 EI and you want to push it two stops, what would the new EI be?
One stop would be 1,000, and two stops would be 2,000. If you rate the film stock at 2,000, you will automatically
be building two stops of underexposure into everything you film. You then tell the
lab to push the film two stops, and the lab compensates for what you have done by
leaving the film in the soup longer.

 

VOL 97 (2016) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

 

ASC Logo smallSIDE

From ASC CLOSE UP american-cinematographer-logo Vol 97(2016)

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

PETER LEVY, ASC

Don’t get attached to anything _ Be Prepared to turn on a dime at any time.

GREG FRASER, ASC, ACS

It must be a lighting tip : ‘ When in doubt , turn it off ‘

PETER MOSS, ASC, ACS

No matter how technologies  change, a cinematographer’s most valuable tool is his eye.

JAMIE ANDERSON, ASC

Roger Corman would always tell his first-time directors before the first day of shooting, ‘Whenever you get a chance,sit down!’ Still good advice

DAVID KLEIN, ASC

Never Give Up!

FREDRIC GOODICH, ASC

Remain a student.Respect your crew. Collaborate

SHANE HURLBUT, ASC

Never feel comfortable, always challenge yourself and never stop dreaming.

LISA WIEGAND, ASC

My agent ,Charles Lenhoff, gives me pep talks before job interviews. Early on he said ‘Tell them you want the gig.’ I thought he was nuts! I assumed, ‘ if I’m interviewing, obviously I want the job.’ I’m still amazed then when I say it, it works. In a couple instances,after the interview, the producers thanked me for telling them, because apparently they often can’t tell if their cinematographer candidates are actually interested.

VANJA CERNJUL, ASC, HFS

Tomislav Pinter once told me, ‘A great cinematographer doesn’t have a style’

PETER ANDERSON, ASC

Oddly enough, it was a print AD that McDonalds’s ran back in the Sixties, promoting being ‘persistent and patient.’ This Mantra has served me very well over my career.

MANDY WALKER, ASC, ACS

When I was starting out there were only a small percentage of women in the camera dept., and I am constantly reassured that while it may still appear to be male-dominated, there’s no reason why it should be.

CHECCO VARESE, ASC

Wake up before everybody else ; go to sleep after everybody else; work more than you think you should.

AMC’S THE TERROR

 


AMC’S THE TERROR Is one of most awaited show of 2018,produced by SCOTT FREE(RIDLEY SCOTT) And David W.Zucker and adapted from Dan Simmons novel is based on 1848 circa true Events [The real ships HMS TERROR AND HMS EREBUS were discovered just 4 years ago THE GUARDIAN],so watching this outstanding terrific crafted series is like read a history horror book and everything deliver a great sense of dread,mixing gruesome deaths with a sort of nautical lucid nightmare.This story is seasoned with top notch acting [Remarkable parts by JARED HARRIS,CIARIN HINDS AND TOBIA MENZIES] ,Production design [outstanding job by Jonathan McKinstry] and a stunning use of music. About that last clue there are a couple of finds that are milestones of the music and really help to deliver the fear and despair of those bunch of people trapped in that sort of frozen hell.
FROM EPISODE# 2 THE GORE SOME SCOUTING EXPEDITIONS DISCOVERS THAT THERE’S NO HOPE – FROM 1972 TANGERINE DREAM’S ALBUM ZEIT PLAYS BIRTH OF LIQUID PLEJADES

FROM LAST EPISODE #10 WE ARE GONE WAS USED ROBERT FRIPP’s Abandonment To Divine Providence,THE MOST SIGNIFICANT TITLE OF EVER.

 

20180412_035704

THE THING [2018] Vinyl 2LP Soundtrack Music By Ennio Morricone – Alan Howarth – Larry Hopkins

THE THING[Buysoundtrax]

A NOTE FROM ALAN HOWARTH : The final score as it is heard in the film is actually an amalgamation of Morricone’s original orchestral music, his subsequent electronic material (the pulsating “Thing Theme”), and the droning ambiences created by Howarth and Carpenter. “Other than that one session I really didn’t have that much involvement with it,” said Howarth. “I just helped John make those cues, and then it was really up to John to sit down and cut all that stuff in and say I want it here and I want it there.” Click on the image below for buy the double vinyl

ALSO AVAILABLE ON NOTEFORNOTEMUSIC

ALSO AVAILABLE ON CD

REVIEW :SOUND QUALITY 5/5 ARTWORK AND PACKAGING 2.5/5

MY FAVS/Best Tracks:

SIDE ONE 01.Main Title 02 Despair

SIDE TWO Humanity 03 Burn It 04 Solitude

SIDE THREE 01 Fucks – 02 To Mac’s Shack*

SIDE FOUR 01 Eternity 02 Contamination 03 Bestiality

In my view COMPARING THAT RECORDINGS to the previous material from original MCA Album I WOULD LIKE TO  SAY the pulsating TRACK“Thing Theme” Here available and named AT SIDE 1 TRACK 2 MAIN THEME – DESOLATION – TRACK 3 HUMANITY II [Originally IS JUST HUMANITY II TRACK 8 OF MCA’s CD]  is a little bit different AT FIRST HEARING AND IT could not be so great on SOUND DESIGN MATTER,SPECIALLY electronic beats.. but THE OTHER TRACKS have something of good and SEEMS BE improved in to orchestral arrangements,this KIND OF feature IS reflected in every orchestral part of this new edition.Instead The electronic droning ambiences tracks created by Alan Howarth and John Carpenter are amazing,powerful,deafening and ARE the real core of the SENSE OF DREAD AND TERROR OF THE movie as we heard in THEATERS IN TO 1982 ,so in my part this LP is a must have.THE RIGHT THING SHOULD BE HAVE THIS HOWARTH’S COMPOSITION WITH THE ORIGINAL MORRICONE CUES.

GHOST IN THE SHELL

2017 has Bring one of best movie never seen since years , I need movie like this , peace and enjoyment for my eyes and yes ,speaking about futuristic AI subjects, I’m one of those people that did not like BLADE RUNNER 2049; this one GHOST IN THE SHELL from Rupert Sanders is far better in my view, has the same charm of Alex Garland ‘s EX Machina and contains unforgettable moments (like the jellyfish scene ) but the experience is boosted starting from a linear well written story(forgivable in some little parts) and  crafted with a outstanding crew  continuing with casting choices, I LOVE Scarlett globally talking as I loved the choices of Juliette Bionche,Takeshi Kitano and the short uncredited cameo of Michael Wincott ;so let’s quote again the special EFX from Weta and others(don’t t forget Art Dept,Make up,Practical and CGI) , the Academy Award Jan Roelfs at Production Design , outstanding Jess Hall BSC Cinematography dealing with Alexa 65 and “Super Panavision 70”  65mm 5-perf film , the bloody Soundtrack by Lorne Balfe in association with Clint Mansell and last but not the least of Course Rupert Sanders Direction(And yes I hate Snow White and the Huntsman) so If you HAVE NOT GIVE YOUR CONSENT at Theaters please take your copy of BLU RAY everywhere and Enjoy the outstanding Experience of GHOST IN THE SHELL.

Scarlett Johansson plays Major in Ghost in the Shell from Paramount Pictures and DreamWorks Pictures.

ABOVE MY BLURAY(EUROPEAN MARKET )AND BELOW A GALLERY OF GHOST IN THE SHELL PICTURES

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