Sentences with phrase «color film shot»

It is among the most startlingly beautiful color film shot in history.

Not exact matches

With film, I typically use provia 400x e6 for color, and kodak 3200 b / w - then scan whatever I want to use (if it is going to print / book project), sometimes I'm lazy and just use the low - res scans I get from the lab if a shot is going to go online.

(The film is alternately shot in bleached out colors.)

Only the end of the film is in color, where Spielberg moves from the freeing of the Jews at the end of the war to a present day shot of many of the descendants of the Schindler Jews.

To forestall such questions, and distract us from the film's core emptiness, director Paul McGuigan (Gangster No. 1, Wicker Park) and his crew very nearly art - direct everything into the dirt: The wallpaper in ordinary apartment buildings is a catalogue of optical illusions, and one fleeting overhead shot of a parking lot features an array of vehicles so expertly color - coordinated they could be photoshopped into a Kelly - Moore spread.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

Filmed on location in Italy and Spain and shot in brilliant Todd - AO and Color and directed by the great British director Carol Reed, Charlton Heston and Rex Harrison (in their first and only film together) give two of the screen's best performances.

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

The 1080p 2.35 X 1 digital High Definition image was shot in Super 35 mm by Director of Photography Mark Irwin, C.S.C. / A.S.C., giving it the same lame school look emphasizing the same color schemes typical of such films shot in California.

Named for its orange color palette, the film was shot on an iPhone 5S with a tiny budget, becoming a surprise box office hit this summer.

For the «Takes» series of issues, contributors were asked to write a complete essay on a single shot, color, cut, or instance of sound design; each article breaks down these elements of filmmaking in a way someone who hasn't been to film school can appreciate.

Sean Price Williams shoots the movie with its washed - out colors, a film that is difficult to watch but which is reasonably involving largely thanks to Arielle Holmes's performance.

Vittorio Storaro comments at some length on the color symbolism in Bertolucci's The Last Emperor, which he shot, demonstrating more critical insight into how the film works and what it's about than we are likely to find in reviews, and there are similarly revealing commentaries from Michael Chapman about the iconographic and stylistic sources of Raging Bull (Life magazine and the photographs of Weegee) and from Hall about the role played by chance in the lighting of a scene from In Cold Blood, where the shadows of raindrops appear to be running down Robert Blake's face.

The wilting, autumnal colors, so violently pumped up in most previous versions, here recover the chilly, bluish cast that suggest a Midwestern winter is fast approaching (although the film was entirely shot in sunny Pasadena, Calif.), and if the newly created 7.1 surround soundtrack seems awfully busy for this tight and rigorous film, the original mono track is available as an alternative.

Their usual cinematographer, Roger Deakins, shot the film in color — they were contractually obligated to have a color version for overseas use — and then printed it on black and white stock, and the result is a deep, rich interplay between light and dark.

The colors look very good, as director Lisa Cholodenko has shot the film in a very naturalistic style.

In almost every shot there's a sharp differentiation between background and foreground space, through lighting and focus, and the cinematography is reminiscent of approaches more common to black - and - white film than color.

In fact, the last December movie to take that Oscar was Clint Eastwood's 2004 film «Million Dollar Baby,» a late entry that Eastwood had shot that summer and didn't land on Warner Bros.» release schedule until the leaves began changing color.

Of course, Night of the Living Dead has been crudely colorized in the past for home video releases, but we'll never truly see what the film would've looked like had Romero shot it in color.

Beautifully shot by Berta with a rich but muted color palette, Kadosh was chosen for the official competition at Cannes, the first Israeli film selected since the Seventies.

Shot in color, but being theatrically distributed in black and white, the film was also something of a slow - burn passion project for Payne, as he originally shelved it back in 2003 to take a break from the road movie genre after «Sideways.»

Paul Thomas Anderson's latest film, Phantom Thread, a portrait of a fictional fashion designer in the couture scene of 1955 London, indulges in similar revels, placing the film firmly in the tradition of the melodramatic women's pictures of the 1940s: it's filled with achingly vivid close - ups (Anderson also shot the film) of shining colored threads, needles piercing thick fabric, rough - edged hand - sewn labels, intricate lace patterns, and rich cloth falling in sculptural folds.

And speaking of color, a couple highly praised films (Frances Ha and Nebraska) were shot only in black - and - white.

Had the film been shot in color or on 35 mm, it wouldn't have put the viewer in the appropriate state of mind for the unique state of mind necessary and the melding of both comedy and sci - fi.

Filmed on 35 mm and left in its grittiest state — the colors have a relatively untreated feel, like a»70s Dirty Harry film — Too Late is an L.A. noir shot in five continuous take scenes.

I loved the saturated color and languorous rhythm of Rajasthan where the film was shot.

Austerberry told the audience how Del Toro had originally wanted to shoot the film in black and white but changed to color.

Half low - key, yet intense, theatrical melodrama, half outdoor adventure film, Wellman shot the whole thing in pseudo black and white: it's in color, but only a few key items are not black or white.

Given the primary metaphor for Delusion is Frank's grief, the film is shot mostly in muted colors to establish his perspective.

(Similarly, Alfred Hitchcock crafted the illusion of a continuous shot in his first color film, 1948's «Rope,» starring James Stewart, John Dall and Farley Granger.)

8 — Moby Dick (Twilight Time, Blu - ray), John Huston's 1956 film of Herman Melville's whaling drama turned epic odyssey starring Gregory Peck plays the obsessed Captain Ahab, was scripted in collaboration with Ray Bradbury and shot by cinematographer Oswald Morris with a desaturated color palette to give the film a sepia quality to evoke the engraving and illustrations of the whaling era.

takes us back to many different genres of filmmaking from the 1940s, including historical epics, war films, musicals — tap dancing Frank Sinatra musicals and Esther Williams musicals with vibrant colors, rich black and whites — all the while allowing Deakins to do what he always does with any movie he's working on whether it's the shittiest film you've ever seen or the best — making it 100 % better just by having shot it.

The film is shot primarily in black - and - white (with Rodriguez serving as cinematographer) with splashes of color for emphasis.

In 2013, «Blue Is the Warmest Color» lead actress Léa Seydoux reported feeling coerced by director Abdellatif Kechiche into spending 10 days shooting an intense 10 - minute lesbian sex scene for the film, which won the Cannes Film Festival Palme d'Or.

Shot in the northern state of Rajasthan, it's not even that the film is patronizing to the Indian locations and culture — it just sort of ignores them, aside from background colors, boisterous parties and funny cab rides.

As ever, it's odd that Nolan should be such a fervent champion for shooting on celluloid when so many of his images are monotonous and filmed in a color and lighting range that's more typical of digital.

Near the beginning of the film, after a grim montage of old newsreels and photos of southern black labor and lynching of blacks, a color fade takes us from archival footage of blacks exiting a New Orleans train to a shot of Junior alone with his suitcase in front of the station.

The film was also shot in Anscocolor, a single - strip 3 - color format derived from Germany's Agfacolor, which MGM had imported and later re-christened Metrocolor in later productions.

But quite apart from its central provocations, «Nocturama» is as aesthetically exciting as any film from 2017, with flowing Steadicam shots, vivid colors and hedonistic soundtrack selections that add up to pure cinematic stimulation.

So, right from the first shot, a long, tracking movement across a cold, foggy bay revealing the highly symbolic flashing green light, the film is just what it should be: long, epically colored, and lavishly flamboyant, without ever getting too carried away.

Of course, because the whole thing was shot in one take, we're watching her performance occur in real time too, and the various colors the film cycles through (which can strain the strictest believability, to be honest) give her so many different notes to play.

Carol was shot in super 16 mm film, in which colors mixed in a way they don't in digital and that creates a grainy image that 35 mm film can not.

The washed out colors, fuzzy focus, shots of nature, and muted emotions dotted with monotone dialogue are all elements of artsy films.

The drained color of Spielberg's film should be expected of yet another collaboration with cinematographer Janusz Kaminski, but it is the patient, respectful pace and distance of the shots that seems so unlike the director.

The cinematic feel of Little Nightmares is enhanced by slightly offset colors, off focus and film grain, making the game look like it's a movie shot on a film stock.

It is surprising the director found time and energy to film this low - tech (color flickers in and out and Scorsese shoots himself Blair Witch - style) but delightfully candid behind - the - scenes footage that takes us around the set and trailers.

That movie also featured Jordan playing a black man who became a victim of his circumstances because of the color of his skin (the film is based on the 2009 shooting death of an unarmed Oscar Grant at the Fruitvale BART station in Oakland, California, by a police officer).

In an interesting decision, director Alex Keshishian elects to shoot the half - dozen concert numbers (including «Express Yourself,» «Vogue» and «Live to Tell») in color while filming the backstage material in black - and - white — these behind - the - scenes vignettes include Madonna hanging out with her back - up singers and dancers, impatiently putting up with then - boyfriend Warren Beatty (who pretty much nails the movie's inadvertent theme when, after someone asks Madonna if she'd like to talk off - camera, he comments, «She doesn't want to live off - camera, much less talk.

Of one thing there's no doubt: the approach taken by Baker and cinematographer Alexis Zabe — filming on 35 mm where Baker's previous film, Tangerine, was shot on an iPhone — makes for an extraordinary combination of color - saturated stylization and extemporaneous verisimilitude.

The color timing was widely decried by film purists and also (whoops) by cinematographer Owen Roizman, who shot the picture in the first place.