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

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

1998-2008 My Best lights and Shadows

Last week,American Cinematographers last poll ask me “What were the 10 Best-Shot Films of 1998-2008″It was not so simple make this short list..10 movies..not enough,anyway,I leave out some great films as John Toll’s Thin Red Line ;Chris Menges Dirty Pretty Things;Guillermo Navarro’s Pan’s Labyrinth & Dion Beebe’s Miami Vice,I’m trying to list what for me was stunning,look for a mix between landmarks and originality and I hope to have do some good choices,all that DVDs are on my shelves,menawhile I’m thinking that 2007 was just a ordinary year for the cinematography and I skipped any choices in that year…Enjoy!

OUT OF SIGHT Elliot Davis 1998

THE INSIDER Dante Spinotti A.S.C. 1999 Super 35MM Kodak Vision 500T 5279-VISION 250D 5246 – Panavision Camera and Lenses

THE CELL Paul Laufer 2000 SUPER35MM Kodak Vision 200T 5274 Panavision Platinum – Pan Arri Primos Lenses – Arriflex 535B Arri 435 Cooke S4 Lenses

ALI Emmanuel Lubezki A.M.C. A.S.C. 2001 SUPER35MM Kodak Vision 200T 5274 Vision 500T 5279 Fuji S-F 500T 8572 Panavision XL-Millennium-Panastar (High Speed)-Sony SP900(HD)-Michael McAllister Lipstick Cameras

UNBREAKABLE Eduardo Serra A.F.C. 2002 ANAMORPHIC 2.35:1 Kodak Vision 350T 5277-Vision 500t 5279 Panavision Millennium-GII-XL Anamorphic Primos and Zoom

KILL BILL VOL 1 Robert Richardson A.S.C. 2003 SUPER35MM     (3 Perf) 2.35:1 Mix of Kodak Film stock EXR-Vision and Double X-Panavision Platinum and Primos Lenses

COLLATERAL Dion Beebe A.S.C. Paul Cameron A.S.C. 2004 ANAMORPHIC 2.37:1 HD Thomson Grass Valley Viper – Sony Panavised 24p HDW-F900 Zeiss Digiprimes Panavision Millennium,XL,Pan Arri 435 Primo Lenses Kodak Vision 500T5279 And Vision 2 500T 5218

MEMOIRS OF A GEISHA Dion Beebe A.S.C. 2005 2.40:1 ANAMORPHIC Kodak Vision 2 500T 5218 Vision 200T 5274 Print on Kodak vision 2383,Panavision Platinum ,Millennium and Gold II Lenses E and C Series

DECEPTION Dante Spinotti A.I.C. A.S.C. 2008 2.40:1 HD Panavision Genesis -Panavision Millennium,XL Panavision Primos and Super Speed,Angenieux Lenses Kodak Vision 500T 5229 Print on Premier Vision 2393 and Vision 2383 Digital Intermediate

CLOVERFIELD Michael Bonvillain A.S.C. 2008 1.85:1 HD Sony Cinealta F23,Thomson Grass Valley,Panasonic AG-HUX200 and AGHSC 1U Zeiss Digiprimes and Digizooms ,Canon HD EC lenses,Print on Kodak Vision 2383