MANN OF SCORES

After many years of research, polishing ,second thoughts,twist and turns I would show my WEBSITE about Michael Mann use of music,it was an hard and long job,and still now I’m not quite satisfy but I think it could be a good readings(in to a very fluent english thanks to Maria Lucia Stroppa), so enjoy

“with respect and away from personal gain ,enjoy my https://fabiopirovanoaries.wixsite.com/fpmannofscores

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SHOWBIZ

MY MOST INSPIRING , INFLUENTIAL PERSONS , ARTISTS , “PEN” AND GOOD FRIENDS IN THE SHOWBIZ

DANTE SPINOTTI AIC ASC Cinematographer L.A. – Muina di Ovaro (Italy)

MICHAEL MANN Director,Producer L.A.

GUSMANO CESARETTI Photographer,Producer L.A. Lucca 

JOHN MURPHY Composer,Musician L.A. Liverpool

STEPHEN PIZZELLO publisher and editor-in-chief of American Cinematographer

PETER MARTORANO Location Manager L.A.-St.Petersbourg FL

MAXIME ALEXANDRE AIC Cinematographer Venezia – L.A.

DANNY MIGUEL Freelance Director L.A.

OTTAVIA DA RE Publisher,Journalist,Photographer @ Venice Film Festival San Donà di Piave Venezia

PIER MARIA BOCCHI Writer,Author,Film Critic,Torino Film Festival, Vigevano Italy

MATTEO MERLI Director Producer Freelance Arkadin Pictures Mirandola Italy

ANTONY HARDING’s July Skies West Midlands U.K. Musician

Other memorable meetings and contacts:Mogwai(Post Rock Group Special Thanks to BARRY BURNS for his empathy)Glasgow-Alan Howarth(Composer) L.A.-Stephane Piter (special Efx Painter)France-Rick Eager(Writer,Actor,Real Estate Agent) Norman OK-Temecula CA-Fulvio Bortolozzo (IED Torino-Photographer) Torino-Alessandro Borri(Writer/Author)Roma-Edoardo Graziani(Photographer)Bologna-Roy H.Wagner ASC(Cinematographer)N.Y.-Duane C.Manwiller(Camera Operator,Cinematographer)L.A.

HYMN TO THE SNOW -FZ200 TEST AT 100 FPS

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PANASONIC LUMIX FZ 200

TESTING

FIRST SNOW AT 100 FPS 720 P 5 MARCH 2016 CIGLIANO

 

FLICKR UPGRADE – IS GOING TO 1M

SAM_5673 I WROTE THIS AROUND SEPT.2014:

My FLICKR (CHECK) exceed 210000 visits since March 2009,more than 100 visit a day , 110K since January 2014 and my previous post here on wordpress,that’s what I call be satisfy ,please take a tour click on the link and ,if logged to flickr leave your preferences if you like what I do ,I wish go beyond! Thanks


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UPGRADE FEBRURAY 2016: 

I REACH  540.182 VISITS SO THANKS TO EVERYONE!!!

 

SUB LUX ALBUM

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THE HATEFUL THING

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From John Carpenter’s THE THING Soundtrack composed by ENNIO MORRICONE , 3 tracks ETERNITY,BESTIALITY and DESPAIR(Discovering the flying saucer scene from the Thing) used on Quentin Tarantino’s HATEFUL EIGHT .

Remastered version by Larry Hopkins from THE THING  Soundtrack BSXCD 8895

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WORKS AND EXHIBIT 2011-2016

SOME EXHIBIT HAD DISPLAY WORKS OF MINE (2011-2016)

RECAP

    IO ESPONGO XIV  20 APRIL 2011

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“THE BLEEDING LADY”

IO ESPONGO XVII MARCH 2014

IMGP4434“DROWNING LIGHTS”

PHOT’OUT FOTOGRAFIA CINEMATICA – BIBLIOTECA NATALIA GINZBURG TORINO JULY 2014

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PARATISSIMA #10 November 2014 N.I.C.E “ALTROVE”

Special Project

 

PARATISSIMA #11 November 2015 N.I.C.E “CITTA’ESPANSA”

Special Project

IMGP1927_stitch“THIS IS NOT L.A.”

IO ESPONGO XVIII 6 DECEMBER 2015 – MARCH 2016

Palazzo della Regione Torino

THE WAVE“The Wave”

To Be Continued… –つづく…

 
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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