TORINO IS THE ITALIAN CITY OF CINEMA,Cinema as a tourist attraction in special itineraries, created within the ‘Torino Città del cinema 2020’ program, to discover the locations of famous films. It is the ‘Girando per Torino’ program: twenty stations for as many films, from Cabiria to Divo, from War and Peace to Santa Maradona,Deep Red ,The Italian Job in which to watch videos related to the films told by the historical conductors of the Hollywood Party on Radio Rai, Steve Della Casa and Efisio Mulas. An initiative in collaboration with the National Museum of Cinema and the Turin Piedmont Film Commission.
I’M amazon prime ADDICTED because is the deal of the century,the catalog is good ,some b movies around and some other A list movie, but they produced and distributed also some memorable things let’s make a list
THE PURGE 1/2
ELECTRIC DREAMS 1/2
AGENT CARTER 1/2
AMERICAN GODS 1/2
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
STRANGER THINGS 1,2,3
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 different
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.
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.