Now is everything Trailer from VALENTINA DE AMICIS R. SPINOTTI on Vimeo.


NOW IS EVERYTHING is the first feature of Riccardo Spinotti (son of the beloved Cinematographer Dante Spinotti ASC AIC) and Valentina de Amicis ,the movie will be officially presented on 28 November at 37° TORINO FILM FESTIVAL and is also premiered at 23° Pimedate Ööde filmifestivalStarring Sir Antony Hopkins,Ray Nicholson(son of Jack Nicholson) The A LIST Crew show Dante Spinotti ASC AIC as Cinematographer & at Costume dept. Colleen Atwood (Public Enemies and Manhunter).”Riccardo Spinotti (1986) was raised in both Italy and in Santa Monica, CA, USA. He attended NYU for Art and Sciences before joining the prestigious AFI (American Film Institute) in Los Angeles, where he graduated as a director in 2012. He has directed several short films including his thesis that was selected and screened at the Directors Guild of America (DGA) AFI event in 2012. With a passion for photography, he has worked both in the camera department and in production on several feature films. Valentina De Amicis was born in Italy in 1979. She graduated in 2004 from University of Rome La Sapienza in Film Studies. Since 2006 she has worked as Assistant Director between Los Angeles, New York, and Rome on numerous films, commercials, and television including Woody Allen’s film “To Rome With Love”. In her directorial debut, this serves as the first time director pairing for Spinotti and De Amicis.

The interesting soundtrack is composed by the talented Vidjay Beerepoot,I have got my ticket for the Torino Film Festival 30th Nov.2019 show and I have High Hopes.


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
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.



immagine-87As far as this soundtrack, in my view Michael Mann’s masterpiece, is concerned it is really possible to talk about “Miscellaneous Artists”. To be true, it all began to find out the beautiful piece The Last Lagoon by William Orbit (famous English, electronic music producer and arranger) and after several years of searching I could understand, quite totally, the very core of this film music.
Michael Mann maximises the emphasising of the visual impact together with the sound one by drawing profusely from famous and brillant authors such as the Kronos Quartet and Elliot Goldenthal (Alien 3).
Other tracks are omitted in the score official version, maybe both for room and royalties reasons, but anyway used in the film.
It is specifically these latter that I am going to consider mainly by listing aside the context they have been matched with:

– Get Up To This – New world beat
(Vincent at the disco’s office discover who “Slick” is;probably the Disco’s Background music fading…)
– Gringatcho Demento – William Orbit
(background music when Waingro is looking for a job in a bar) – track from Strange Cargo III album
– The thrill is gone – BB King
(During the ball of Vincent and Justine…)
– Concerto for Violoncello and Orchestra Boulez conducted by Ligeti
(the Platinum robbery) track from the namesake album
– The Monkey King William Orbit
(Chris, Neil and Michael mislead the guard by gesticulating) track from Strange cargo III
– Arabic Agony James
(L.A.P.D. Smile!…a picture from above)
– In November – David Darling
(Neil finds out from some documents who Vincent Hanna is) track from Cello album
– Late Evening in Jersey – Brian Eno
(Chris and Michael in the underground car park hack into the computer altering the bank alarm /Charlene and Dominique ask for the police safeguard)
– Black Cloud – Steve Roach /Elmar Schulte performed by Solitaire
(Waingro meets Roger Van Zant/ Donald stops what he was doing…) track from Ritual Ground album
– Celon – Lisa Gerrard / Pieter Bourke
(News of the bank robbery on TV)
– Will Gaines – Eric Clapton
(Neil devises with Nate a new escape plan / Vincent and Casalas visit Hugh Benny)
– The Last Lagoon – William Orbit
(Vincent says about Neil: “… He’s is still here…”I feel it” … Neil runs after Eady on the hill at dawn)
– The Mighty Limpopo – William Orbit
(Chris understands Charlene’s wave and leaves) – track from Strange Cargo I album

The piece The Last Lagoon by William Orbit (taken from Strange Cargo II album) replace Run Up Hill scene written by Elliot Goldenthal and included in the official soundtrack.
The same is true for the track Refinery Surveillance (scene of the surveillance in the refinery) afterwards replaced by three pieces: The Monkey King by William Orbit, In November by David Darling mixed with Arabic Agony by the James, this latter is taken from Wah Wah album.
Celon by Lisa Gerrard is used in the film but omitted in the soundtrack edition; all the three pieces by Lisa Gerrard are included in The Mirror Pool album.
New Dawn Fades, a shorter, not sung version, is used during the motorway chase between Vincent and Neil and it is a remake by Moby of the namesake piece by the Joy Division; the song integral version is available in the album I Like to Score by Moby.
Armenia by the Einstűrzende Neubauten (taken from Drawings of Patient O.T. album) used for a few seconds during the first “sceptical” meeting of Neil and Eady will be present also in other ”Hard” parts of Heat as well as in “The Insider”; the piece Late evening in Jersey by Brian Eno has recently been recorded on a compilation of unpublished works called Curiosities Vol. 1 (Opal Records).
Top O’ The Morning To Ya written by Eric Schrod, Leon Demant and Willie Dixon is played by the House Of Pain (taken from the House of Pain album) and it is in background during the meeting between Vincent and the informer Richard Torena in the Disco Club; By The Time I Get To Phoenix written by Jimmy Webb is probably droned by Vincent Hanna during the informer Albert Torena questioning.
Will Gaines by Eric Clapton is a piece taken from the soundtrack of Rush, a 1991 film directed by Lili Fini Zanuck.
As far as Ultramarine by Michael Brook is concerned, there is a special, unreleased version used when Vincent Hanna, in an understandable fit of hysteria, throws away his TV set at a traffic light.
There are two versions of the End Title composed by Moby and called God Moving Over the Face of the Waters: the “soft” one included in the official CD and the one included both in the single That’s When I Reach for My Revolver God Moving Over the Face of the Waters Heat Mix and in the above quoted album I like to score.However, the one in the film is slightly different from both these latter.
The pieces composed by Elliot Goldenthal and produced by Mathias Gohl are listed below among the others; the composer has made use, for some pieces, of the collaboration of the Kronos Quartet, the contemporary string quartet already known for collaborating with Philip Glass and with the The guitar orchestra Deaf Elk leading Page Hamilton of metal band Helmet

Warner Bros 9362-46144-2

1 Heat-Performed by The Kronos Quartet 7:42
2 Always Forever Now-Passengers 6:55
3 Condensers 2:35
4 Refinery Surveillance-Performed by The Kronos Quartet 1:46
5 Last Nite-The Chasers 3:29
6 Ultramarine – Michael Brook 4:35
7 Armenia – Einstürzende Neubauten 4:58
8 Of Helplessness 2:40
9 Steel Cello Lament 1:44
10 Mystery Man – Terje Rypdal 4:40
11 New Dawn Fades – Moby 2:50
12 Entrada & Shootout 1:49
13 Force Marker – Brian Eno 3:37
14 Coffee Shop 1:38
15 Fate Scrapes 1:34
16 La Bas[Edited Version] – Lisa Gerrard 3:11
17 Gloradin – Lisa Gerrard 3:57
18 Run Uphill 2:51
19 Predator Diorama – The Kronos Quartet 2:40
20 Of Separation 2:21
21 God Moving Over the Face of the Waters – Moby 6:58

HEAT B SIDE CDR This anthology was set using the music not inserted in to the original soundtrack record.Enjoy the Mixcloud



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 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

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 than any hateful Digital Intermediate speech I’m not telling that IF they had used ALEXA 65 with Vintage Ultra Panavision lenses they could achieve a better THE HATEFUL 8(Upgraded 2017: Dante Spinotti ASC AIC is Testing in Pre Prod for  Marvel’s Ant man and the Wasp  ALEXA 65 With Anamorphic and Sperhical Classic Lenses),because this feature under the great ROBERT RICHARDSON A.S.C. is shot at Anamorphic 65mm film format with Panaflex using tons of KW through a 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 random thoughts for say in the media “fight” lenses could make really the difference and in this case Vintage Lenses Rules.


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.

British production firms spend big on ‘vintage lenses’ to profit from period drama boom

The Man of Guarantee Duane C. Manwiller


It happened, after seeing some films as just happened watching Last Action Hero on Blu Ray last nite, that you have the feeling that there was a common denominator in the aesthetic sense of the images and of the camera’s movements or better a overall quality in modus operandi. Now This phenomenon for me has a name, Duane C. Manwiller and his last name is quality and professionalism ; He hit my eyes since 1990,fluent collaborator with some of greatest Cinematographers like Dante Spinotti A.S.C A.I.C,Maxime Alexandre A.I.C , Paul Cameron A.S.C  and Directors as Michael Mann ; Curtis Hanson ; Steven Soderbergh ; Kathrin Bigelow and Brett Ratner  , Duane often is credited as Camera Operator, 1st and 2nd Assistant Camera , Steadicam Operator, 2nd unit and additional Director Of Photography , Cinematographer and Producer;

2013 Nominated
Camera Operator of the Year Award
Feature Film
The Hunger Games (2012)

Below a list of remarkable films that unconsciously  I Own on Blu Ray , DVD and VHS ,so all of these have make me reach the conclusion that he’s one the secrets of the aspect of the filmic success.KUDOS!!

  2015 Blackhat (director of photography: second unit – as Duane Charles Manwiller)
 2014 John Wick (director of photography: second unit)
 2012 Battleship (additional photography: Hawaii Unit)
 2011 Luck (TV Series) (director of photography – 1 episode)
Episode #1.1 (2011) … (director of photography: second unit)
 2011 Texas Killing Fields (additional photography – as DC Manwiller)
 2010 The Crazies (camera operator) / (director of photography: second unit)
 2008/I Deception (Steadicam operator – as Duane ‘DC’ Manwiller) / (camera operator: “a” camera – as Duane ‘DC’ Manwiller) / (director of photography: second unit – uncredited)
 2006 Deja Vu (Steadicam operator) / (camera operator: “b” camera)
 2006 Miami Vice (Steadicam operator) / (director of photography: second unit)
 2002 Solaris (camera operator: “a” camera) / (director of photography: second unit)
 2002 Pinocchio (Steadicam operator) / (camera operator: “a” camera) / (director of photography: second unit)
 2002 Red Dragon (camera operator: “b” camera) / (director of photography: second unit – uncredited)
 2001 Ocean’s Eleven (Steadicam operator – as Duane ‘DL’ Manwiller) / (camera operator – as Duane ‘DL’ Manwiller) / (director of photography: second unit – uncredited)
 2001 Bandits (additional Steadicam operator – uncredited) / (first assistant camera: “a” camera)
 2000 The Family Man (first assistant camera: “a” camera)
 2000 Wonder Boys (additional Steadicam operator) / (additional camera operator)
 1999 The Insider (first assistant camera: “a” camera)
 1998 Out of Sight (first assistant camera: “a” camera)
 1998 Goodbye Lover (first assistant camera: “a” camera)
 1997 L.A. Confidential (first assistant camera: “a” camera – as Duane ‘DC’ Manwiller)
 1996 The Mirror Has Two Faces (first assistant camera: “a” camera)
 1995 Heat (first assistant camera: “a” camera – as Duane ‘DC’ Manwiller)
 1995 Strange Days (additional camera operator: second unit)
 1995 The Quick and the Dead (assistant camera)
 1994 Nell (first assistant camera – as Duane C. Manwiller)
 1993 Last Action Hero (second assistant camera)
 1992 The Last of the Mohicans (additional assistant camera)
 1992 Patriot Games (second assistant camera)
Duane C. Manwiller on Right From Hunger Games Set

Dante goes Hercules


Some great news from Showbiz  Dante Spinotti is checking venues and locations in Budapest for next Brett Ratner’s project produced by MGM – Paramount Hercules The film is going to be directed by Brett Ratner and co-produced by Peter Berg (director of Hancock and Battleship).Meanwhile he was so willing and gracius to answers me about the world of cinematography,I love this world ,this is not an insert coin passion, I spent many time on readings over American Cinematographer and  watching movies I matured a sort of curiosity, so we have a good chat about photochemical past era(finally clarify use of daylies) and some words about the new one the digital era ,the use some Panavison cameras and Lenses( expecially”rehoused” versions of Zeiss or Cooke lenses) , Panavision I guess the greatest supporting company for your ideas;last we also talk about very intresting made in germany anamorphic Hawk Lenses . It was for me and my profanity a moving call,The size of this man is equal to the huge emotions in producing great images for every great flick he covered. Grazie Dante you deserve a bottle of Gattinara for the Warp Party!



The use of HD cameras is a way for be Tactile, Michael Mann as great Director pay attention to technology and devices availables but as living quantun leap and a step forward he was a precursor of that “naked eye” technology since ALI, so enjoy this reel with some of stunning  images from this kind of HD medias.

Thomson Grass Valley Viper – Sony F900Sony F23  V-2430-f23

Fractal Cinema Dante Spinotti works in Michael Mann films


I’m happy to know that my eye,my ideas ,my feelings about him were not wrong…all of it  started with Manhunter (Michael Mann is his best constituent) so now after 26 years he take what he deserve!

Kudos Dante ,hope to meet you soon!!!



This is my homage to a great Director of Photography,Dante Spinotti AIC ASC ,he’s the one of few reason that I start to trust in the power of images, learning to watch and apply that in my passion for photography. Cinematography is one of greatest and important aspect of film industry(with the Editing) and I really love this world, is a sort of Enthusiasm that will never fade! Enjoy !