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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...

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VIKARE

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24,984 次观看 • 1 年前 •via X (Twitter)

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9 条评论

Robert WR 的头像
Robert WR1 年前

Love it. Masterful artwork.

Alexander Boldizar 的头像
Alexander Boldizar1 年前

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

Henosis 的头像
Henosis1 年前

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

VIKARE 的头像
VIKARE1 年前

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

chris 的头像
chris1 年前

They racked the aperture as they dollied back bro

VIKARE 的头像
VIKARE1 年前

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 Shaw 的头像
Gary Shaw1 年前

Great account this @mackin_john

Chahuapa 的头像
Chahuapa1 年前

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

YorkiPudd 的头像
YorkiPudd1 年前

Cinema.

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In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.
2:25

In Heat, the scene with Robert De Niro and Amy Brenneman looking out over the Los Angeles skyline, is one of the most beautiful shots in all of crime cinema. However, it was also incredibly difficult to pull off in 1995, before the introduction of digital cinematography Heat was shot on Kodak EXR 500T 5298, a fast tungsten-balanced film stock designed for low-light photography. This allowed cinematographer Dante Spinotti to shoot night scenes without blasting the actors with harsh movie lights. Instead, he could rely on softer, more naturalistic light sources, while still allowing the audience to see deep into the darkness of nighttime Los Angeles. That stock was ideal for the terrace scene between De Niro and Brenneman. It could capture the soft light spilling from De Niro’s house onto their faces, keeping the scene intimate and natural. But there was still a problem: they were working on film. Once they exposed correctly for the actors, the background of Los Angeles’ skyline disappeared into darkness. Michael Mann wanted to preserve the brilliance of the cityscape, and the way it reflected off the night clouds, while still maintaining that soft, romantic glow on the actors. So Spinotti came up with a clever solution. He shot the background separately using Panavision Primo lenses opened all the way to T2, meaning the aperture was set extremely wide so the lens could take in as much light as possible. First, he shot the night sky at 4 frames per second. Because the camera was running much slower than normal, each frame was exposed for longer, giving the film more time to absorb the faint light in the sky. Then he shot the skyline separately at 12 frames per second. This gave the lights more brightness and clarity. He also pushed the film one stop. In simple terms, he shot the film as if it needed less light than it actually did, then had the lab develop it longer to bring the brightness back up. This made the city lights register far more strongly, while the darker parts of the image fell deeper into black - creating what Spinotti described as a glowing “ocean of lights.” They then shot the scene on location with a greenscreen placed behind or, in some setups, in front of the actors. What you’re seeing in the final shot is three separate film elements - the sky, the city lights, and the actors - all exposed differently, at different frame rates, then combined through digital compositing into a single image. The result is strangely beautiful. De Niro and Brenneman seem almost suspended in mid-air, floating above the city lights, giving the moment an almost abstract, dreamlike quality - one that perfectly complements the overall tone of the scene.

Gangster Cinema Central

122,841 次观看 • 3 个月前

1946, At The End Of The Rainbow. My 16mm archive. The Sun-Kraft UV Lamp Company film on the medical tested UV light. It had a great deal of research around it and was used across hospitals and doctors offices for a decade. The AMA tried to buy the rights to the bulb technology and they failed, so they called it a “quack device” and shut it down. It had a very high cure rate for virus pneumonia with no need of pharmaceuticals. We lost this technology when we lost this company. This film was assumed to be destroyed.
24:23

1946, At The End Of The Rainbow. My 16mm archive. The Sun-Kraft UV Lamp Company film on the medical tested UV light. It had a great deal of research around it and was used across hospitals and doctors offices for a decade. The AMA tried to buy the rights to the bulb technology and they failed, so they called it a “quack device” and shut it down. It had a very high cure rate for virus pneumonia with no need of pharmaceuticals. We lost this technology when we lost this company. This film was assumed to be destroyed.

Brian Roemmele

92,765 次观看 • 2 个月前

The craziest thing about The iPhone 17 Pro variable aperture camera is that Apple isn't the first to do this but Samsung, which released a dual aperture smartphone back when Galaxy S9 launched. Although dual aperture is not as advanced as variable aperture, the premise is the same. A smaller aperture allows for better photos during bright light while a bigger aperture allows for better pictures in low-light. For some odd reason, Samsung decided to skip on this feature entirely after the launch of galaxy S10 and every Galaxy smartphone released after it had a fixed aperture. Chances are that Samsung will follow Apple again and re-introduce this feature with their next Galaxy smartphones but I always found it quite odd that they got rid of it on the first place.
0:51

The craziest thing about The iPhone 17 Pro variable aperture camera is that Apple isn't the first to do this but Samsung, which released a dual aperture smartphone back when Galaxy S9 launched. Although dual aperture is not as advanced as variable aperture, the premise is the same. A smaller aperture allows for better photos during bright light while a bigger aperture allows for better pictures in low-light. For some odd reason, Samsung decided to skip on this feature entirely after the launch of galaxy S10 and every Galaxy smartphone released after it had a fixed aperture. Chances are that Samsung will follow Apple again and re-introduce this feature with their next Galaxy smartphones but I always found it quite odd that they got rid of it on the first place.

NikTek

65,480 次观看 • 3 天前

With all due respect to my friend Doomer, the reason they didn’t use selective focus on the Rocky stair shot is because they couldn’t. The tech wasn’t there yet. Rocky was the first film the use a Steadicam. This was groundbreaking tech and changed cinematic language forever. That's the reason the stair scene is so iconic--because audiences had never seen anything like it before. If we were doing that shot today, we’d have a focus puller (called a 1st AC in the USA) manually focusing the lens on a wireless follow focus. Because there’s no other way to pull focus with a fast moving steadi cam following a fast moving subject. With a shallow depth of field Rocky would have been running in and out of focus. But back then they had no choice. So they used the largest depth of field they could get away with so that Rocky stayed in focus the entire time. If they’d had the tech to do selective focus they 100% would have used it--because cinema is all about selective focus. Steadicam inventor Garret Brown actually shot a test with his GF running on the same stairs used in Rocky (see video). And again, he was forced to use a deep depth of field because there was no way to accurately focus the camera while he was moving.
0:53

With all due respect to my friend Doomer, the reason they didn’t use selective focus on the Rocky stair shot is because they couldn’t. The tech wasn’t there yet. Rocky was the first film the use a Steadicam. This was groundbreaking tech and changed cinematic language forever. That's the reason the stair scene is so iconic--because audiences had never seen anything like it before. If we were doing that shot today, we’d have a focus puller (called a 1st AC in the USA) manually focusing the lens on a wireless follow focus. Because there’s no other way to pull focus with a fast moving steadi cam following a fast moving subject. With a shallow depth of field Rocky would have been running in and out of focus. But back then they had no choice. So they used the largest depth of field they could get away with so that Rocky stayed in focus the entire time. If they’d had the tech to do selective focus they 100% would have used it--because cinema is all about selective focus. Steadicam inventor Garret Brown actually shot a test with his GF running on the same stairs used in Rocky (see video). And again, he was forced to use a deep depth of field because there was no way to accurately focus the camera while he was moving.

Rambo Van Halen

20,578 次观看 • 9 个月前

The famous final scene of 'The Long Good Friday' (1980) was the first scene to be shot. Director John MacKenzie, who was driving, told Bob Hoskins the story and events of the movie to come and filmed Hoskins's reactions. Cinematographer Phil Meheux sat between the driver and passenger seat with a one thousand foot magazine attached to the camera and filmed continuously until it ran out. As there was no room to properly light Hoskins in the interior of the car, Mehuex used a fifty watt light bulb (plugged into the cigarette lighter) placed on the end of the camera's matte box. Even though it appears that Pierce Brosnan (In his first movie role) and Bob Hoskins share a car, neither actor was present when the other was captured in close-up (they each worked on a separate night), so Brosnan and Hoskins never did get to work with one another throughout the shoot. (Source - IMDb)
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The famous final scene of 'The Long Good Friday' (1980) was the first scene to be shot. Director John MacKenzie, who was driving, told Bob Hoskins the story and events of the movie to come and filmed Hoskins's reactions. Cinematographer Phil Meheux sat between the driver and passenger seat with a one thousand foot magazine attached to the camera and filmed continuously until it ran out. As there was no room to properly light Hoskins in the interior of the car, Mehuex used a fifty watt light bulb (plugged into the cigarette lighter) placed on the end of the camera's matte box. Even though it appears that Pierce Brosnan (In his first movie role) and Bob Hoskins share a car, neither actor was present when the other was captured in close-up (they each worked on a separate night), so Brosnan and Hoskins never did get to work with one another throughout the shoot. (Source - IMDb)

DepressedBergman

303,293 次观看 • 7 个月前

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🚨 JUST IN - DAVID HOCH, from Nick Shirley's fraud video: "Keith Ellison, he's not from Minnesota. He's from Detroit. Jacob Frey is not from Minnesota. He's from Virginia. The police chief of Minneapolis is not from Minnesota. He's from New Jersey. His wife's a Muslim cop in New Jersey." "The mayor of St. Paul is not from Minnesota. And so it plays into this whole contention that I've made that this fraud framework was set up by the Democrats." "And what I believe they tried to do is when the Hmong population was brought into Minnesota in the late 70s and early 80s, there was a huge influx of the Hmong." "And I think the Democrats thought the Hmong were going to fit the playbook for committing all this fraud. And they didn't. The Hmong said they were honorable people. They're not going to be involved in this. And so they had to find another group." "And so they got the Somalis and they fit right in to this framework of fraud. And then they just ran with it!"

Eric Daugherty

1,290,610 次观看 • 7 个月前

‘We Built This City’ by Starship was originally going to be used in ‘FIVE NIGHTS AT FREDDY’S’ instead of ‘Talking in Your Sleep’ by The Romantics. The movements by the suit performers still used the dances from rehearsal with the Starship song, as they were not changed with the song switch. "The funny thing is, we rehearsed for four weeks, and then we shot for four weeks. The animatronics, anyway. The whole rehearsal period, we were listening to ‘We Built This City.’ That was the temp song because they had not secured whatever song they were looking for at the time. We went to set the first day, and the song was totally different. But then we got used to that one. For us, we’re so limited [with movements and dancing], it’s like, I’m going to do what I do," recalls Freddy Fazbear performer Kevin Foster. (Via: Popverse) #fnaf #fivenightsatfreddys
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‘We Built This City’ by Starship was originally going to be used in ‘FIVE NIGHTS AT FREDDY’S’ instead of ‘Talking in Your Sleep’ by The Romantics. The movements by the suit performers still used the dances from rehearsal with the Starship song, as they were not changed with the song switch. "The funny thing is, we rehearsed for four weeks, and then we shot for four weeks. The animatronics, anyway. The whole rehearsal period, we were listening to ‘We Built This City.’ That was the temp song because they had not secured whatever song they were looking for at the time. We went to set the first day, and the song was totally different. But then we got used to that one. For us, we’re so limited [with movements and dancing], it’s like, I’m going to do what I do," recalls Freddy Fazbear performer Kevin Foster. (Via: Popverse) #fnaf #fivenightsatfreddys

JonnyBlox

360,851 次观看 • 8 个月前

This woman was excited for her new appliances. She ordered a new washer and dryer, and a stove to be delivered right away from Lowe’s. She also purchased a new fridge to be delivered in a month because she had to modify the cabinet for fitment. Come delivery day, she was at work, and her son was home for the delivery. He didn’t know what was coming and in what order, he was only there to let the in. Not only did they deliver the fridge that wasn’t supposed to be there until a month later, they dented it in many spots. They forgot to deliver the stove and the dryer altogether. The washer was never hooked up, in fact the snapped off the water connectors in the back too. So now they have to go to the garage for food and they can’t wash their cloths. If this was you, what would make this right for you?
1:45

This woman was excited for her new appliances. She ordered a new washer and dryer, and a stove to be delivered right away from Lowe’s. She also purchased a new fridge to be delivered in a month because she had to modify the cabinet for fitment. Come delivery day, she was at work, and her son was home for the delivery. He didn’t know what was coming and in what order, he was only there to let the in. Not only did they deliver the fridge that wasn’t supposed to be there until a month later, they dented it in many spots. They forgot to deliver the stove and the dryer altogether. The washer was never hooked up, in fact the snapped off the water connectors in the back too. So now they have to go to the garage for food and they can’t wash their cloths. If this was you, what would make this right for you?

SonnyBoy🇺🇸

5,009,629 次观看 • 7 个月前

it blows my mind how perfectly the set up for byler was. will quite literally gained powers with the memory of the first day he met mike to save him and they threw it all away. this scene is the buzziest scene to ever happen to a ship
1:41

it blows my mind how perfectly the set up for byler was. will quite literally gained powers with the memory of the first day he met mike to save him and they threw it all away. this scene is the buzziest scene to ever happen to a ship

izzy 🂽

36,984 次观看 • 7 个月前

I modelled the head, face, and battle mask for Optimus Prime for #Transformers ROTB. I also designed his new "centurion" open battle mask look along with it's animation. The director wanted the face to resemble the face from the 2007 Transformers film as ROTB was a soft-prequel to it but also wanted it to be tweaked to fit the new design and for us to give it some new unique features. This is where we came up with the new mask design which doesn't get entirely hidden when open. Instead, it gets stored on the side of his cheeks, like a Roman centurions helmet. The head design is derived from his model from the 2018 Bumblebee film to keep some consistency with that film too as ROTB was also a soft-sequel to Bumblebee. There are new pieces, adjusted proportions, and reworks to detailing in ROTBs version. The face proportions are modified from the 2007 face to be a lot wider and beefier, matching his new head shape and look. I redesigned and built the eyes from scratch using our kitbash pieces like I did for all the Maximals and Mirage. The studio decided against going for the holographic eyes look from the 2018 Bumblebee film but rather wanted a more simple look in between the 2007 and the 2018 eyes. I added a lot of small mechanical details to his battle mask animation which we unfortunately never get to see in the film. For example, I designed a fully functional mechanism which pushes his chin piece back when his mask closes. This was very cool when it was visible, our Animation Director and VFX Supervisors were super excited about it, but unfortunately no shot showed it off in the final film. It was a lot of fun to help model and design Optimus Prime for this film. I'm happy I got to contribute to such an iconic character. CREDITS: Video: Paramount, MPC, WetaFX Ruairidh MacNeill modelled the body for Optimus
0:23

I modelled the head, face, and battle mask for Optimus Prime for #Transformers ROTB. I also designed his new "centurion" open battle mask look along with it's animation. The director wanted the face to resemble the face from the 2007 Transformers film as ROTB was a soft-prequel to it but also wanted it to be tweaked to fit the new design and for us to give it some new unique features. This is where we came up with the new mask design which doesn't get entirely hidden when open. Instead, it gets stored on the side of his cheeks, like a Roman centurions helmet. The head design is derived from his model from the 2018 Bumblebee film to keep some consistency with that film too as ROTB was also a soft-sequel to Bumblebee. There are new pieces, adjusted proportions, and reworks to detailing in ROTBs version. The face proportions are modified from the 2007 face to be a lot wider and beefier, matching his new head shape and look. I redesigned and built the eyes from scratch using our kitbash pieces like I did for all the Maximals and Mirage. The studio decided against going for the holographic eyes look from the 2018 Bumblebee film but rather wanted a more simple look in between the 2007 and the 2018 eyes. I added a lot of small mechanical details to his battle mask animation which we unfortunately never get to see in the film. For example, I designed a fully functional mechanism which pushes his chin piece back when his mask closes. This was very cool when it was visible, our Animation Director and VFX Supervisors were super excited about it, but unfortunately no shot showed it off in the final film. It was a lot of fun to help model and design Optimus Prime for this film. I'm happy I got to contribute to such an iconic character. CREDITS: Video: Paramount, MPC, WetaFX Ruairidh MacNeill modelled the body for Optimus

Rassoul Edji

388,573 次观看 • 1 年前

The third and final SANTIAGO event was the premier of the short film in San Antonio and it was INSANE!!!!!! To see this many people show up to watch a short film we made was so surreal. It was so cool to experience it in a theater for the first time with fans. Surreal moment. Ended up on top of our SUV afterwards and soaked it all up!! The attention to detail and intentionality for this whole rollout has been something I’m super proud of. Everything happened better than I could’ve imagined.
1:12

The third and final SANTIAGO event was the premier of the short film in San Antonio and it was INSANE!!!!!! To see this many people show up to watch a short film we made was so surreal. It was so cool to experience it in a theater for the first time with fans. Surreal moment. Ended up on top of our SUV afterwards and soaked it all up!! The attention to detail and intentionality for this whole rollout has been something I’m super proud of. Everything happened better than I could’ve imagined.

RUSS

145,550 次观看 • 3 年前

This is important. Someone in the crowd confessed to the shooting immediately after it happened, despite not having a weapon? Why? Does this mean they were a decoy, and this was a joint operation? They have now apprehended multiple people, yet the shooter is still at large. An eyewitness claims that the shot was fired immediately after someone asked Charlie Kirk about trans violence and that he believes there were several people in on it. Did they wait for this specific question? The FBI and Kash Patel need to get to the bottom of this horrific crime as soon as possible. They cannot be allowed to get away with this.
1:01

This is important. Someone in the crowd confessed to the shooting immediately after it happened, despite not having a weapon? Why? Does this mean they were a decoy, and this was a joint operation? They have now apprehended multiple people, yet the shooter is still at large. An eyewitness claims that the shot was fired immediately after someone asked Charlie Kirk about trans violence and that he believes there were several people in on it. Did they wait for this specific question? The FBI and Kash Patel need to get to the bottom of this horrific crime as soon as possible. They cannot be allowed to get away with this.

Green Lives Matter

713,754 次观看 • 1 年前

The final scene in The Godfather Part II, with the family gathered around the dinner table, was originally going to include Marlon Brando, but he pulled out at the very last minute. Coppola had to rewrite a whole new ending the night before the shoot. He explains: “It’s a very interesting story, because I had written this scene that we go back to, around the period just before the first Godfather, when they were all young… My idea was that they would come together, finally, at the end, as a family. And the end of the movie would be a big, beautiful scene with Marlon Brando and Al Pacino, sort of summing up the whole saga that had gone down. And I was negotiating with Marlon Brando right up to the last minute saying, “Marlon, please, just one day. We’ll give you this money.” But Marlon was so mad at Paramount - for ultimately not paying him any money on the first picture, or whatever he was mad about - And although I didn’t know it until the last day, ultimately, it wasn’t going to be possible to have him in the picture. So I went to bed that night really worried. I had lost the end of my movie. I had to shoot it the next day. I had no idea what to do. I was sleeping in the Chateau Marmont Hotel. I had this scene. I had paid all this money to get Jimmy Caan to come back and some of the other actors to be in the last scene. And in the middle of the night, I just had this idea. And I wrote it - which is that they were all gathered for a surprise birthday party for the Don. And so after this scene plays out, in which Michael’s decision to join the Marines is kind of examined relative to really what all we know is going to happen, and what this young, beautiful, collegiate man who’s a war hero, who goes straight, is going to end up to be: this man without a heart, who’s killed his own brother and alienated his wife… And I thought there could be one beautiful scene with him and Don Corleone as we remember him from the first movie. Since Marlon didn’t come, I made it the surprise party, and I built it up to the point where they all said, “Oh, he’s here. He’s here.” And they all run out of the room. And as you’re waiting for Marlon to come into the room, you just stay on Al… And I came up with the solution at, like - three in the morning. And the next day they said, “Well, Marlon’s not coming.” And I said, “That’s all right. I’ve got a scene we can do without him.” And it was this one. Also, I like that staging kind of, especially about families who ultimately dissolve in front of your eyes, the idea that you have a table full of people. And one by one, someone argues or someone goes off, and then you’re just left with one … And everything else now is just sound. The father comes, and you know he’s there, and you feel he’s there, but you’re left with Michael alone.” This quote comes from the director's commentary track off the Godfather Part II Blu-ray
4:15

The final scene in The Godfather Part II, with the family gathered around the dinner table, was originally going to include Marlon Brando, but he pulled out at the very last minute. Coppola had to rewrite a whole new ending the night before the shoot. He explains: “It’s a very interesting story, because I had written this scene that we go back to, around the period just before the first Godfather, when they were all young… My idea was that they would come together, finally, at the end, as a family. And the end of the movie would be a big, beautiful scene with Marlon Brando and Al Pacino, sort of summing up the whole saga that had gone down. And I was negotiating with Marlon Brando right up to the last minute saying, “Marlon, please, just one day. We’ll give you this money.” But Marlon was so mad at Paramount - for ultimately not paying him any money on the first picture, or whatever he was mad about - And although I didn’t know it until the last day, ultimately, it wasn’t going to be possible to have him in the picture. So I went to bed that night really worried. I had lost the end of my movie. I had to shoot it the next day. I had no idea what to do. I was sleeping in the Chateau Marmont Hotel. I had this scene. I had paid all this money to get Jimmy Caan to come back and some of the other actors to be in the last scene. And in the middle of the night, I just had this idea. And I wrote it - which is that they were all gathered for a surprise birthday party for the Don. And so after this scene plays out, in which Michael’s decision to join the Marines is kind of examined relative to really what all we know is going to happen, and what this young, beautiful, collegiate man who’s a war hero, who goes straight, is going to end up to be: this man without a heart, who’s killed his own brother and alienated his wife… And I thought there could be one beautiful scene with him and Don Corleone as we remember him from the first movie. Since Marlon didn’t come, I made it the surprise party, and I built it up to the point where they all said, “Oh, he’s here. He’s here.” And they all run out of the room. And as you’re waiting for Marlon to come into the room, you just stay on Al… And I came up with the solution at, like - three in the morning. And the next day they said, “Well, Marlon’s not coming.” And I said, “That’s all right. I’ve got a scene we can do without him.” And it was this one. Also, I like that staging kind of, especially about families who ultimately dissolve in front of your eyes, the idea that you have a table full of people. And one by one, someone argues or someone goes off, and then you’re just left with one … And everything else now is just sound. The father comes, and you know he’s there, and you feel he’s there, but you’re left with Michael alone.” This quote comes from the director's commentary track off the Godfather Part II Blu-ray

Gangster Cinema Central

244,905 次观看 • 3 个月前

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!
1:05

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!

DepressedBergman

105,934 次观看 • 2 个月前

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?
0:51

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 次观看 • 4 个月前

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.
1:16

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 次观看 • 1 个月前