A VIEW FROM SUPERGA HILLS

THERE ARE DAYS WHEN A SORT OF WIND IS CLEANING THE HORIZON AND JANUARY IS ALWAYS THE RIGHT TIME FOR HAVE A GREAT VIEWS OF TORINO FROM SUPERGA HILLS.SO AFTER A COUPLE OF YEARS SINCE MY LAST PANORAMAS SHOOTING (12 JAN 2015) I BACK AT 5 JAN 2017 TO FIND SOME OTHER ANGLES AND ,FIGHTING THE CHILL(-3C°),I GUESS TO HAVE  FOUND SOME INTERESTING THINGS.ALL THE PANORAMA ARE COMPOSED WITH 2 OR AT LEAST 3 FRAMES STITCHED ,THE CAMERA IS ALWAYS THE PENTAX K 01 Mirrorless AND THE LENSES ARE THE CLASSIC SMC A 50MM F1.7 AND THE MODERN PENTAX SMC DA 18-135 3.5-5.6 … ENJOY MY FLICKR

PICTURES TAKEN FROM SUPERGA HILLS AT 5 JAN 2017 AT BLUE HOUR (USING EXSATE GOLDEN HOUR APP)
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VOL 92 (2011) FROM ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 92(2011)

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

JACK COUFFER, ASC

From editor Irving Lerner: ‘Cut out all the comin’s and goin’s’

BARRY MARKOWITZ, ASC

‘There’s only one way to shoot this thing : Two Ways’

CRESCENZO NOTARILE, ASC

From Owen Roizman :” There’s no need to have an ego as a man. Let your work on that screen be your ego”

DENNIS MUREN, ASC

Jim Danforth taught me the value of critical thinking, especially about your own work, and how to see your work as the audience will see it. And during THE EMPIRE STRIKES BACK, George Lucas showed me a helicopter shot and asked if I could add a creature running in the ground, which at the time seemed impossible because of the six axis camera motion. He said, ‘ Give it some thought,’ and within 15 minutes I had a solution,That Taught me that a right answer might be one thought away.

TOBIAS SCHLIESSLER, ASC

‘Don’t shoot your demo reel.Be true to the story.’

DEAN SEMLER, ASC, ACS

From George Miller:’Just be bold,Dino!Be as bold as yo want!’

BRUNO DELBONNEL, ASC, ACS

When I was an AC, a gaffer told me, ‘Don’t run on a set, ‘because you show everyone that you probably forgot something. I still don’t run on set, and I try not to forget too many things’.

TOM HOUGHTON, ASC

I received early encouragement from Woody Omens,ASC; and Walter Lassally,BSC taught me many crucial concepts over the course of several projects. I also appreciated the opportunity to be on set of Fat City, where Conrad Hall, ASC was executing  innovative ideas using 8k (4x2K) umbrella lights for the fight scenes.In dailies,John Huston would just put his head on down and listen, trusting Conrad to deliver their visual plan.

DANTE SPINOTTI, ASC, AIC

It was actually given to my son  when he was getting ready to direct his thesis film at the American Film Institute.Jay Fortune, a New York gaffer I ‘d just completed a film with, suggested to him, ‘ Don’t lose your sense of humor,even when everything seems to be going in the opposite direction.’

XAVIER GROBET, ASC, AMC

Life is like an airplane: you either get on board , or you don’t . It’s up to you.

DAN MINDEL, ASC

When I was a focus puller on a movie with Adrian Biddle, BSC, I told him I did not have focus marks, and he said ‘ Feel The Force. ‘ I use that advice all the time.

LUCIANO TOVOLI, ASC, AIC

‘The Edges of the frame are often more interesting then the center’

To Be Continued… –つづく…

LOST AND FOUND SOUNDTRACKS : THE LOVELY BONES

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THE LOVELY BONES Some Of The Unreleased Soundtrack


SMALL CRAFT ON A MILK SEA – COMPLEX HEAVEN – EMERALD AND STONE

BRIAN ENO From the Album SMALL CRAFT ON A MILK SEA

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BRIAN ENO From AMBIENT 1: MUSIC FOR AIRPORTS

THE THIRD UNCLE

BRIAN ENO From TAKING TIGER MOUNTAIN BY STRATEGY

THE BIG SHIP

BRIAN ENO From ANOTHER GREEN WORLD

THE FIRST LIGHT

BRIAN ENO HAROLD BUDD From AMBIENT 2 THE PLATEAUX OF MIRROR

ALICE

COCTEAU TWINS From VIOLALINE Disc Four of 4AD ‎– CT BOX 2 EP Box Set LULLABIES TO VIOLALINE

SONG TO THE SIREN

THIS MORTAL COIL From 4AD IT WILL END IN TEARS

CELTIC SWING

VAN MORRISON From INARTICULATE SPEECH OF THE HEART

MONET @ TORINO

“..Sponsored by the City of Turin and Skira editore, the exhibition will be held at GAM – Galleria Civica d’Arte Moderna e Contemporanea of Turin, whose long-standing collaboration with the Musée d’Orsay has made it possible to bring forty of Monet’s masterpieces to the Piedmont capital..”

MONET GAM TORINO

CLAUDE MONET

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La Pie [La Gazza]

La Pie [La Gazza]

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SINCE VOL. 85 ASC CLOSE UP – BEST PROFESSIONAL ADVICE RECAP

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From ASC CLOSE UP american-cinematographer-logo Vol 85(2004) 

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

ROY H.WAGNER , ASC

It Was Actually given by Ansel Adams.He Suggested that I previsualize in my head what I wanted an Image to look like and then determine what I needed technically to achieve that.That one piece of advice is the basic principle that has allowed me to be considered a very fast cinematographer

AMY VINCENT , ASC

I was Working as an assistant for Bob Richardson ,ASC, and he came to see my AFI Thesis Film.The Next day ,on set, he announced to everyone that it was my last day working for him.Then he told me that my lighting should never get too complicated and he pushed me out the door!

BILL DILL , ASC

Look at the big picture,and ask yourself, “What Made me want ot shoot this movie in the first place?” Don’t let your role sink into mere execution.Every Choice should have a specific,identifiable,underlying philosophical basis in the story.However , be careful with this.As soon as the basis becomes apparent to the audience ,you’ve moved into their consciousness.Our work has its greatest effect on the unconscious emotional involvement the audience has with the movie. The way I put this to my students is , ” Never let your metaphor become a metafive”

GEORGE SPIRO DIBE , ASC

I never forgot Jimmy Wong  Howe telling me , ‘Don’t screw with your negative’. He did not believe in putting a diffusion glass that cost a few dollars over a lens that had cost thousands.He also said, ‘We never make mistakes’.

ROBERT F. LIU , ASC

James Wong Howe told me once that no one can make every scene a masterpiece,but if you can make one scene or one shot outstanding within the whole picture,you have achieved uniqueness in your work with a trademark.

ANDY LASZLO , ASC

Learn what’s important to put up a fight for,and know when to say no

RON GARCIA , ASC

From Alfred Hitchcock : ” Stay out of Jail

OWEN ROIZMAN , ASC

Pay Attention and follow you Heart.That came from me.

DARYN OKADA, ASC

Trust your eye and not the light meter

CURTIS CLARK , ASC

Years Ago,Allen Daviau advised me to include commercials in my work as a  cinematographer.This is was great advice,and I have followed it

MICHAEL GOI , ASC

Always tell the truth.Say what you really believe.Telling people what you think they want to hear doesn’t you or them.Also,always photograph your lead actress like she’s your lover,but don’t date her.

RICHARD KLINE , ASC

From Harry Stradling: Make Sure that somewhere in each frame there is a proper exposure!

To Be Continued… –つづく…

 

FURTHER CONSIDERATION – VINTAGE LENSES RULES

End of troubled year,so Let me does some Random Considerations..If I’m not wrong somewhere(American Cinematographer Vol. 89 Issue 5 Kink and the City By Jon Silberg) I read that “my” DANTE SPINOTTI A.S.C-A.I.C for the feature DECEPTION used older Super Speed primes lenses over modern HD digital camera(at that times Panavision Genesis ) and modern primo lenses over classic super35 film camera like ARRI or Panaflex..so I used this tips,among the many that he does in every his interview, for my gear using classic/vintage Pentax SMC A Manual Focus lenses(50mm f 1.7- 50mm f 1.4) over my digital APS-C Pentax SLR and I get , sometimes with the beauty of some difficult, OUTSTANDING  results,working at 50mm full frame lenses(75mm if compared to Pentax APSC DSLR System 1,5x) ;last hardly I will pass to full frame ,not for my pocket ,my computer and skills.Check My Flickr
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Then I was able to recover a 1984 RICOH XRP 35mm film camera mounting a Ricoh 50 mm lenses f 1.7 for understand what Quentin Tarantino and other great Directors are keeping alive in to cinema industry,the use of film,to be honest as just not pro in that days is quite a mess develop films and scan for obtain nice prints (prints on photographic paper/media is the where everything must go) however the organic feel is so fascinating ,and I could understand why they don’t quit it,but with my digital gears set as I mentioned before I can really deal the same great digital photographic meaning specially for see in to the darkness…

So less any hateful Digital Intermediate speech I’m not telling that IF they used ALEXA 65 with Vintage Ultra Panavision lenses they could get a better THE HATEFUL 8,because this feature under the great ROBERT RICHARDSON A.S.C. is shot at Anamorphic 65mm film with Panaflex using tons of KW with Classic Hollywood Lighting and is not like the REVENANT shot by the beloved EMMANUEL “CHIVO” LUBEZKI A.M.C-A.S.C (using Alexa HD cameras and classic Panavision Anamorphic C Series Lenses with ONLY available ambient-practical lighting),so these western movies are in to a great beautiful confrontation..however this is not my business,are just thoughts for say in the media “fight” lenses could make really the difference and in this case Vintage Lenses Rules.

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THE REVENANT Copyright © 2015 Twentieth Century Fox Film Corporation. All rights reserved. THE REVENANT Motion Picture Copyright © 2015 Regency Entertainment (USA), Inc. and Monarchy Enterprises S.a.r.l. All rights reserved.Not for sale or duplication.

WHAT DID I TELL YA?!
British production firms spend big on ‘vintage lenses’ to profit from period drama boom

Michael will shoot around Modena and Italy for 14 Weeks/CANCELLED

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THAT’S A GREAT NEWS , A DREAM COMES TRUE..MICHAEL MANN WILL SET ENZO FERRARI BIOPIC AROUND MODENA AND ITALY( JUST 300km FAR FROM ME) ; SO I HOPE TO MEET HIM AGAIN TASTING PARMIGIANO LAMBRUSCO AND CRUDO (DRY CRUED HAM)

Tha Major of The City of Modena Muzzarelli Meet Michael and Chris

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“The horse was painted on the fuselage of the fighter plane of Francesco Baracca — a heroic airman of the first world war. In ’23, I met count Enrico Baracca, the hero’s father, and then his mother, countess Paulina, who said to me one day, ‘Ferrari, put my son’s prancing horse on your cars. It will bring you good luck’. The horse was, and still is, black, and I added the canary yellow background which is the colour of Modena.”

— ENZO FERRARI

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MICHAEL MANN COMES TO VISIT MODENA WITH ENZO’S SON PIERO – VIDEO PRE PRODUCTION NOVEMBER 2014

THE PROJECT IS ACTUALLY OFF LINE DUE PRODUCTION – RECASTING ISSUES(FEB . 2016)

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