MICHAEL MANN’S HBO MAX SERIES TOKIO VICE The series is loosely inspired by American journalist Jake Adelstein’s 2009 memoir, Tokyo Vice: An American Reporter on the Police Beat in Japan, which chronicles his time spent covering organized crime for the Yomiuri Shimbun, one of Japan’s largest newspapers. Adelstein was the first Westerner to work the crime beat for the paper and spent 12 years there.Tokyo Vice stars Ansel Elgort (Baby Driver) as the American journalist, Ken Watanabe(Godzilla) as a Tokyo police detective and Rinko Kikuchi (Pacific Rim-Babel) as a Japanese journalist.
Mann is directing the 10-episode series pilot and will serve as an executive producer. John Lesher (Birdman, Black Mass), Emily Gerson Saines (Temple Grandin), Watanabe and Elgort also executive produce. Endeavor Content is serving as the studio.[Extract from Hollywood Reporter article 12:11 AM PDT 3/17/2020 by Patrick Brzeski]
SAMSUNG EX1 – TL500 Is a SEMI PRO compact camera,produced till 2013 now out of order, built with a fast Schneider Kreuznach Varioplan lens with optical zoom f/1.8-2.4 wide angle 3x (24-72mm equiv.) image stabilized zoom lens. It comes with an 1/1.7″ 10MP CCD sensor ICX685CQZ [the same sensor used in the Canon G11 and the S90,with a pixel pitch of 4.3 µm²]and a 3.0″ multi-angle AMOLED display. The camera also offers full manual control, RAW capture, VGA video recording in H.264 format and a new faster DRIMeIII imaging processor, the TL500 captures high-quality images, regardless of the lighting environment. 2019 SAMSUNG now , the EX1 along with NX1,NX500 is the best present from SAMSUNG CAMERA Dept. and their know how in camera technology,before quit everything and focusing only on smartphone devices… big shame in my view.
EX1TL500 BEST SETTINGS FOR LOW LIGHT USING 16:9 FORMAT (7mpx) f 1.8 – f 2.8(highest lens resolution) ISO 80 TO ISO 400 (800-1600 JUST IN EXTREME CASE) RAW+SUPERFINE JPG SETTINGS; BEST SETTINGS FOR DAYLIGHT USING 16:9 (7Mpx) FORMAT FROM f 3.9 TO F 6.7 ISO 80 RAW+SUPERFINE JPG SETTINGS,THE LENS STEPS ARE 5.2mm[24mm]-6.5mm[28mm]-9.4mm[42mm]-15.6[72mm]Macro focusing range (TELE) 0.50(50cm)- 0.8m , Macro focusing range (WIDE)0.01(1cm) – 0.4m Manual focusing range (TELE)0.5 – ∞ Manual focusing range (WIDE)0.01 – ∞ Normal focusing range 0.40 – ∞ BELOW LENS RESOLUTIONS CENTER AND EDGE, BEST SETTINGS FOR WHITE BALANCE ARE AWB OR SHUTTER CUSTOM SETTINGS,MY EX1 FLICKR SAMSUNG EX1 OFFICIAL PRODUCT INFORMATION BEST REVIEWS Photoreview.com.auAmateurphotographer.co.uk Camerok.com dpreview.com
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.
GUSMANO CESARETTI IS IN HIS NATIVE TOWN PROCARI(LUCCA) FOR A UNIQUE EXHIBITION; FROM 24 MARCH TO 27 OF MAY 2018 WE CAN ADMIRE HIS OUTSTANDING PHOTOGRAPHIC WORLD LINKED TO CINEMA INDUSTRY, FONDAZIONE LAZZARESCHI OFFICIAL LINK
I’m one of those audience that stay SIT and read all the movie end credits so since Michael Mann’s THIEF,I was younger and in full VHS era, his noble and “FROM other times” name credited often as Visual Consultant hit my interest, so in the years I understand who Gusmano is and finally I understand why I truly LOVE a certain kind of cinema . So if matter of LOVE I hope to meet him one day for shake hands and have a great day.
HERE SOME OF BEST VIDEO FROM MY YOUTUBE CHANNEL, ENJOY
From an old Shell adv I just re-scored it using Il Padre Di Italia soundtrack composed by the fluent Italian Composer Giorgio Giampà
1997 I was in L.A., I filmed everything with my VHSC this is what I have to show briefly,LA is a big set everything turn easy,I loved bee there as tourist
This is was edited From Criterion Collection Thief using an alternate edition of Tangerine Dream’s Beach Scene
Aaron ‘s We Cut The Night is one of best album of 2016, Invisible Stain fit perfect for BLACKHAT e
Mise-en-scène is what I see in Michael Mann’s Films
Don’t ask what precisely THE KILLERS have to Share with ALI but I think that’s a great Video and a Great Song
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
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