Filmmaker https://xitter.cf/t.co/Q17cRrd1Dl
London, England
Joined February 2013
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My latest video:
A 29 minute look at the great visuals of Top Gun (1986), from the cinematography to how they filmed those planes & the VFX. It also looks at the style of the early films and scripted work of director Tony Scott. #TopGun @RidleyScottCG
youtube.com/watch?v=L9QrzsJw…
Tim Partridge retweeted
History in the making. A collection of moments on the set of KEN RUSSELL’S THE DEVILS.
In theaters now: thedevils.movie
The fireball behind Neeson:
He's in front of a bluescreen & the composited background is a carnival, but one frame has been copied & pasted onto board, which has then been cut up into pieces & detonated. It's then been edited into the sequence.
How does Sam Raimi think this up?
Tim Partridge retweeted
Mario plays a saxophone made of PVC pipe in a potential Mario movie '93 deleted scene:
Tim Partridge retweeted
The contradiction goes further: Watkin wanted light to feel natural and uncomplicated; Russell wanted excess, provocation and monumental staging.
Somehow the two approaches reinforce each other.
One of Watkin’s most astonishing films.
My full cinematography analysis:
ignacioaguilardop.com/the-de…
Tim Partridge retweeted
David Watkin hated anamorphic lenses. Some of his greatest cinematography was shot with them.
FAVORITE CINEMATOGRAPHY #10 — THE DEVILS
Watkin regarded anamorphic as an “optical catastrophe” — yet here his huge bounced arc sources, diffusion and deliberate overexposure give Ken Russell’s widescreen images extraordinary scale and texture.
Tim Partridge retweeted
One of the most natural-looking period films ever made required some of the most extreme photographic engineering ever used on a feature.
FAVORITE CINEMATOGRAPHY #8 — BARRY LYNDON
Tim Partridge retweeted
NEW VIDEO - My thoughts on the new Street Fighter movie! youtu.be/HXFPIZWOoXk
There's a lot of clever use of vertical texture in this film, to separate the characters from the background in deep focus black and white. it also marries thematically with what the film is about.
One of the deepest-looking widescreen films of the 1960s was shot with some of the longest lenses.
In HIGH AND LOW, Kurosawa often used 100mm, 200mm — perhaps even 300mm+ anamorphic lenses — yet still demanded wide compositions and substantial depth of field.
Telephoto compression. Deep focus. Total control of the frame.
The obvious way to shoot this scene would be close ups of those talking & reacting. I love how instead, neither of the Marios get a close up, and the entire sequence is shot and edited to favour wild background action. The heel on the police chief's shoulder is a great touch.
Miniature effects supervised by John Richardson.
This bridge miniature was filmed at Pinewood studios during the winter. It had to match a real & foreground miniature bridge already filmed in Morocco.
Note the little forced perspective model building & trees in the background.
Tim Partridge retweeted
Going to see the new Street Fighter Movie this weekend? Probably a good time to look back (in super detail) at the development, production and end result of the Jean Claude Van Damme and Raul Julia version, from 1994. #streetfighter
youtube.com/watch?v=kXKbg19V…
Going to see the new Street Fighter Movie this weekend? Probably a good time to look back (in super detail) at the development, production and end result of the Jean Claude Van Damme and Raul Julia version, from 1994. #streetfighter
youtube.com/watch?v=kXKbg19V…
They're both obviously very different situations, but it's somewhat amusing to me that a DC superhero sequel is being completed by a director who is a massive fan of Richard Lester.
Even without the below, the film was nominated for a visual effects Oscar. It was up against Aliens, but would including this sequence have changed things? To me, the work in both is equally top tier.
LSOH Miniatures supervised by Richard Conway & photographed by Paul Wilson
Go Ninja, Go Ninja... I mean, Go Darkwing, Go Darkwing, Go!
I wish they sold those large, forced perspective backdrops of St. Canard. Who wouldn't decorate their home with them? The video is so cool, I forgive how they didn't rotoscope DW's shadow against the St. Canard sign.
I'm wondering who will be chosen as music composer, no doubt accurately recapturing the Jan Hammer electronic sound. Will it all be performed on a CMI Fairlight and a Yamaha KX5 keytar, recorded onto tape?
If not, what's the point? ;)
