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This whole sequence from "Citizen Kane" (1941) should be impossible to shoot. As the camera gets further and further away from the window we would expect the exterior to get brighter (until white) and blurrier. So how did Orson Welles and Gregg Toland achieve this? - The cabin interior... was flooded with twin-arc “broadside” lamps (normally used for Technicolor). This made the interiors extremely bright, matching the same intensity as the exterior set. - Using a tiny aperture (f/11–f/16) they achieved razor-sharp depth of field, keeping both the table and the boy in the background perfectly crisp. - They used custom 24mm Cooke lens, specially coated with magnesium fluoride to reduce glare and boost contrast, essential for deep focus. - They shot on the brand new premium super expensive Kodak Super XX film (ASA 160), highly sensitive, designed for high speed shots who could handle the large amount of light and the small aperture. - The cabin was entirely built physically, except for the roof which was made with a matte cloth, to absorb all the outward going light and not reflect it back into the scene. Imagine the effort put to achieve this scene as it was intended in order to achieve this masterful storytelling device.show more

VIKARE

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24,984 views • 1 year ago •via X (Twitter)

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Robert WR1 year ago

Love it. Masterful artwork.

Alexander Boldizar1 year ago

Preble Jefferson can see 5 seconds into the future. When government agencies become aware of his skill, he'll do whatever it takes to protect his family. “Calling this a thriller is a bit reductive...The most interesting novel I’ve read in a long time.” --JDC

Henosis1 year ago

What are your sources? Outside scene looks more like back projection, would have been far easier too.

VIKARE1 year ago

American Cinematographer magazine issue of 1941 discusses Citizen Kane. The reason you can tell it's not a back projection is because there is no grain mismatch between the snow scene and the interior

chris1 year ago

They racked the aperture as they dollied back bro

VIKARE1 year ago

that would have shown exposure shift. Besides cameras of that time had no electronic aperture control so any aperture change during the scene would not have been smooth. Everything maintains same level of exposure

Gary Shaw1 year ago

Great account this @mackin_john

Chahuapa1 year ago

This combination, to come up with such a solution, that's quite something. To me it feels like genius or a crazy perfectionist.

YorkiPudd1 year ago

Cinema.

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Gangster Cinema Central

244,905 views • 3 months ago

This scene in "Kind Hearts and Coronets" (1949) where 6 members of the D'Ascoyne's family, all played by Sir Alec Guinness, are seen together, took 2 days to film. The camera was set on a specially built platform to minimize movement. In addition, the camera operator spent the night with the camera to ensure that nothing moved it by accident. A frame with six black matte painted optical flat glass windows was set in front of the camera, and the windows opened one at a time so each of the characters could be filmed in turn. The film was then wound back for the next character. Most of the time was spent waiting for Guinness to be made up as the next character. (Source: IMDb) P.S: 1) On this day, 77 years ago, Robert Hamer's "Kind Hearts and Coronets" (1949) premiered in London, U.K. 2) Remembering the great British actor, Dennis Price, on his 111th birthday!

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DepressedBergman

105,934 views • 2 months ago

This man went to pic up his new fridge from the store. It was almost $2000, brand new and still on the pallet strapped in. He did notice there was a tear in the plastic wrap. He inspected it further and saw it was a nice size dent. While he still wants the fridge and understands accidents happen, this was still unacceptable to him. Should he have waited for them to order in another one or was the $50 credit the store offered good enough for what they did?

SonnyBoy🇺🇸

562,366 views • 4 months ago

Florence Pugh reveals the camera broke during her and Cillian Murphy’s intimate scene in Oppenheimer, leaving them stuck on set waiting for repairs. “In the middle of our sex scene, the camera broke. No one knows this, but it did.” “Our camera broke when we were both naked, and it was not ideal timing.” Pugh said the closed set made the situation awkward, with her and Murphy having to wait while the crew fixed the equipment. Instead of sitting silently, she turned the unexpected pause into a learning moment: “So tell me, what’s wrong with this camera?” Director Christopher Nolan later explained the issue involved the way light was entering the camera. Pugh said the experience showed how passionate and skilled the entire Oppenheimer crew was, describing every moment on set as a privilege.

Florence Pugh reveals the camera broke during her and Cillian Murphy’s intimate scene in Oppenheimer, leaving them stuck on set waiting for repairs. “In the middle of our sex scene, the camera broke. No one knows this, but it did.” “Our camera broke when we were both naked, and it was not ideal timing.” Pugh said the closed set made the situation awkward, with her and Murphy having to wait while the crew fixed the equipment. Instead of sitting silently, she turned the unexpected pause into a learning moment: “So tell me, what’s wrong with this camera?” Director Christopher Nolan later explained the issue involved the way light was entering the camera. Pugh said the experience showed how passionate and skilled the entire Oppenheimer crew was, describing every moment on set as a privilege.

The Forge 🍿

19,312,735 views • 1 month ago