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MAN ON FIRE (2004) Tony Scott utilized an old hand-cranked film camera built in 1910 to make movie magic. No CGI needed. DP Paul Cameron built a "merry-go-round" rig that spun Denzel Washington and the camera 360 degrees to create a hyper-kinetic visual effect.
384,591 просмотров • 3 месяцев назад •via X (Twitter)
Комментарии: 35
The visuals in this were a bit jarring at first but over the years this has become one of my all time favourite films. The editing style is an acquired taste but I love the visuals and the film is a masterpiece. Tony Scott and Denzel at their best.
HARD AGREE. Super stylized but always feels grounded. Extremely rewatchable.
I believe that's a modified Arri 35 IIB, which was built in the late 1950s or 1960s. The camera was certainly modified to hand-crank, like a camera from 1910, but this one was a more modern blimped model. Arri only started building cameras in the late 1930s.
Bob Richardson I believe used this same camera, a Mitchell, for many scenes in Oliver Stone's U-TURN. I was lucky enough to be on set once when he used it in this scene.
@yanndanh Always been a MASTERPIECE and people only realizing it now
This is why I love cinema! I love how creative people can be!
The cross-processing added a nice look to it also.
Very cool techniques. I always loved the look of those “hyper-real” sequences…didn’t realize it was the hand-crank camera. That movie is underrated.
I know some people may not like the editing style, but imo it gives the movie a very distinct identity, and you can tell there was real creativity poured into said style. Can’t help but love it
The rig reminded me of working on a commercial where the actors were on a turntable and the lights were on a dolly on one ring of track and the camera was on a ring of track outside that. In a black draped studio. All for beauty style shots, mostly of feet!
Love this movie but remember watching it and being like, oh that’s different. Pretty cool to find out what they were going for all these years later. My favorite Denzel line, “I wish….you had….more time.”
There’s so much craft to his work that’s invisible. He knew exactly how to imagine and plot rythym with a camera, be it hand cranked, multicam or single cam. It’s hard to know where the planned ends and the happy accidents begin.
@AlFromBayShore @noahryancomedy Retro innovative at its finest.
Why would anyone use cgi in those shots? Oh you meant VFX or Editing.
Incredible. Why have I not seen this before! 🔥🚒🧯🔥
this reminds me of the trick used to introduce vibration in the cockpit scenes in Top Gun where an electric drill was mounted to the camera
L'équivalent de la Joconde pour @_virtualgreen
@moosematson This is so cool.
The much-missed Tony Scott.
I wish you had more time
Tony Scott's best film
Absolute cinema.
This effect was so distracting and was used way too often. The movie did not aged very well. The mexican police force was dissolved because of too much corruption and everyone there was a criminal and involved in the cartels.
Tony Scott will forever be better than Ridley.
I love this type of thing they did in the 2000s, you also see something similar in the Bourne movies, the flashing and jittery exposure is so good
THE. BEST.
Rest in peace Tony. I love this film btw
RIP
This is phenomenally interesting
Man, I miss Tony Scott films
that 1910 hand-cranked camera detail makes the whole thing even wilder
Very cool 🤙
Genius!, true cinema!
NEVER should have done a remake if this film. Utter travesty. Never forgive.
This movie is so beautiful
!["With 'The Color of Money' (1986), working with two big stars [Paul Newman & Tom Cruise], we tried to make a Hollywood movie. Or rather, I tried to make one of my pictures, but with a Hollywood star: Paul Newman." --- Martin Scorsese Full Excerpt: "After 'The Last Temptation' was cancelled in 1983, I had to get myself back in shape. Work out. And this was working out. First 'After Hours' (1985), on a small scale. The idea was that I should be able, if 'Last Temptation' ever came along again, to make it like 'After Hours', because that’s all the money I’m gonna get for it. Then the question was: Are you going to survive as a Hollywood filmmaker? Because even though I live in New York, I’m a “Hollywood director.” Then again, even when I try to make a Hollywood film, there’s something in me that says, “Go the other way.” With 'The Color of Money' (1986), working with two big stars, we tried to make a Hollywood movie. Or rather, I tried to make one of my pictures, but with a Hollywood star: Paul Newman. That was mainly making a film about an American icon. That’s what I zeroed in on. I’m mean, Paul’s face! You know, I’m always trying to get the camera to move fast enough into an actor’s face—a combination of zoom and fast track—without killing him! Well, in 'The Color of Money' there’s the first time Paul sees Tom Cruise and says, ’’That kid’s got a dynamite break,” and turns around and the camera comes flying into his face. Anyway, that night, we looked at the rushes and saw four takes of this and said, “That man’s gonna go places! He’s got a face!” (Martin Scorsese's interview with Harlan Jacobson, FIlm Comment, 1988)](https://image.24vids.com/tw-2007926007672852849/amplify_video_thumb/2007848271390412800/img/vp_a-j16aGLaET--.jpg)
