Thanks for the upload wolfcrow. I been wanting to see you do vilmos next but I love all your work on the cinematographers and theirs styles. Keep up the great work!!
He was clearly the greatest and most valued person in the whole Hungarian cinema. He was a great cinematographer and also a great person. I feel so lucky that I was able to meet him multiple times. It's a real tragedy that he died.
if any of you is interested in Vilmos's work, there's a recent documentary by Pierre Filmon called "close encounters with Vilmos Zsigmond" and it's really great. I haven't watched "No subtitles necessary" but I think it must be very complementary... it's French so I don't know if there's an English version but I hope you guys can find it! also great video (once again)
Great and insightful video as always! Some of my favorite movies in terms of look, feel and mood are photographed by Vilmos Zsigmond. You confirmed: I always pinpointed "around 1970" as the year where zoom lenses were starting to be (over-) used. It takes skill to make zooming look convincing and not "flat" or "cheap" (like a TV news interview shot on a static tripod). Love the haze effect. I read that one of the reasons for its use was to make the (then = 1974) new, sharper Eastman EXR 5247 (100T) stock, using a new ECN-2 processing (now the standard), look softer, more like the older 5254 (which many preferred). Knowing that the "haze" effect goes back to the late 1960s, I'm seeing a larger picture here... Thanks, as always, for sharing your great insight! Just a small question: an Arriflex 16 (at the time models S, M and BL) cannot be converted to Techniscope, because that is (standard, non-Super) spherical (= non-anamorphic) 35mm with a 2 perf pulldown (as used for most Sergio Leone Spaghetti Westerns). So it could only have been Ultra 16 or Super 16. (?) - of course my humble, nerdy 'explanations' are meant for people who might not know, but are interested. :-)
Thank you. Vilmos did confirm he used preflashing and fog filters just to increase dynamic range primarily. Film stock didn't have the dynamic range it does today (but still a lot more than it did a few decades earlier!). To be honest I don't know the exact camera he used, just that it was a 16mm Arri. It might have been possible to convert the lenses to anamorphic, perhaps, using an adapter? I can't imagine him being able to afford anamorphic lenses, but I could be wrong.
Yes, that would have been very much possible. It hardly matters what the model was. The Arri 16 models from the late 1950s through 1970s are all very similar (and cannot be converted to Super 16 without extreme modifications that won't justify the cost and time) only Ultra 16 - a format with enlarged film gate between sprocket holes - as far as I know - still unknown back in the 1970s. Perhaps he used a 35mm 2x anamorphic projection lens (perhaps a Kowa?)in front of the 16mm lens? With the correct lenses (longer focal lengths) to avoid vignetting, you get a very nice 2.66:1 -ish image, fine for blow up to 35mm anamorphic (only minimal cropping at the sides). P.S. yes! To say nothing about speed. 100 ASA was considered high speed at the time (a lot of push processing used I reckon). Today 500 ASA (with a 13 stop latitude: the Kodak Vision 3 500T) is considered high speed and still O.K. for 16mm.
I read the article about Macabe and Mrs. Miller in American Cinematographer after seeing the movie, what a revelation. Robert Altman too was at the beginning of his illustrious career as was Leonard Cohen, what a trio!
Hi Sareesh, I was wondering if you could do a video explaining the difference between the tv look and the film look and how they can look different even if they were shot on the same camera.
As always great video! One DP that i'm interested but is practically unknown is John DeFazio, i came to know him for his work on Paul Schrader's The Canyons, i would like to see if you can find info about him, thanks!
Zsigmond shot two of the best-looking world-historical box-office disasters of all time, "Heaven's Gate" and "The Bonfire of the Vanities." (Though two of the most memorable shots from the latter - the gargoyle time-lapse shot at the beginning, and the Concorde landing - were the work of second unit director Eric Schwab. "The Devil's Candy," about the making of that film, is a must-read.) Is that Arch Hall, Jr. from "Eegah!" at 6:50?!?
great work as always , i just saw some work of dp colin watkinson - from the movie the fall (check out the created intro !) its really great deserve a study . keep on artist
Beautiful pronunciation of the name, thank you sir.
You're welcome!
Thanks for the upload wolfcrow. I been wanting to see you do vilmos next but I love all your work on the cinematographers and theirs styles. Keep up the great work!!
You're welcome!
He was clearly the greatest and most valued person in the whole Hungarian cinema. He was a great cinematographer and also a great person. I feel so lucky that I was able to meet him multiple times. It's a real tragedy that he died.
Your channel is my favorite thing.
wow I am delighted to have found this piece of information..what a GENIUS FANTASTIC.
Would you do a video on the cinematography of Rodrigo Prieto and Dean Cundey? They are two of my favorite cinematographers!
Great work man... Next Dante Spinotti please
Thanks!
Excellent video on a Legendary Cinematographer! Now please do Michael Ballhaus
Thanks!
if any of you is interested in Vilmos's work, there's a recent documentary by Pierre Filmon called "close encounters with Vilmos Zsigmond" and it's really great. I haven't watched "No subtitles necessary" but I think it must be very complementary... it's French so I don't know if there's an English version but I hope you guys can find it!
also great video (once again)
Thanks!
wolfcrow glad you've seen my comment ;)
You know I'm here, baby. Good shit as always my friend.
Thank you!
wolfcrow Would you consider doing one on Newton Thomas Sigel?
Wonderful succinct appraisal of a GENIUS
Thanks!
In love with these!! Thank you so much! Please do Freddie Francis soon. He's dope.
You're welcome!
Thanks big fan of his stuff
You're welcome!
Blowout and the Ghost and the Darkness are filmed awesomely.
What you do is really fantastic! Please, add the work of Robby Muller or Matthew Libatique the next time. Thank you :)
You're welcome! they're on the list.
Excellent as always! I'll suggest doing Slawomir Idziak next
Thanks, he's on the list!
Great and insightful video as always! Some of my favorite movies in terms of look, feel and mood are photographed by Vilmos Zsigmond. You confirmed: I always pinpointed "around 1970" as the year where zoom lenses were starting to be (over-) used. It takes skill to make zooming look convincing and not "flat" or "cheap" (like a TV news interview shot on a static tripod). Love the haze effect. I read that one of the reasons for its use was to make the (then = 1974) new, sharper Eastman EXR 5247 (100T) stock, using a new ECN-2 processing (now the standard), look softer, more like the older 5254 (which many preferred). Knowing that the "haze" effect goes back to the late 1960s, I'm seeing a larger picture here... Thanks, as always, for sharing your great insight!
Just a small question: an Arriflex 16 (at the time models S, M and BL) cannot be converted to Techniscope, because that is (standard, non-Super) spherical (= non-anamorphic) 35mm with a 2 perf pulldown (as used for most Sergio Leone Spaghetti Westerns). So it could only have been Ultra 16 or Super 16. (?) - of course my humble, nerdy 'explanations' are meant for people who might not know, but are interested. :-)
Thank you. Vilmos did confirm he used preflashing and fog filters just to increase dynamic range primarily. Film stock didn't have the dynamic range it does today (but still a lot more than it did a few decades earlier!).
To be honest I don't know the exact camera he used, just that it was a 16mm Arri. It might have been possible to convert the lenses to anamorphic, perhaps, using an adapter? I can't imagine him being able to afford anamorphic lenses, but I could be wrong.
Yes, that would have been very much possible. It hardly matters what the model was. The Arri 16 models from the late 1950s through 1970s are all very similar (and cannot be converted to Super 16 without extreme modifications that won't justify the cost and time) only Ultra 16 - a format with enlarged film gate between sprocket holes - as far as I know - still unknown back in the 1970s.
Perhaps he used a 35mm 2x anamorphic projection lens (perhaps a Kowa?)in front of the 16mm lens? With the correct lenses (longer focal lengths) to avoid vignetting, you get a very nice 2.66:1 -ish image, fine for blow up to 35mm anamorphic (only minimal cropping at the sides).
P.S. yes! To say nothing about speed. 100 ASA was considered high speed at the time (a lot of push processing used I reckon). Today 500 ASA (with a 13 stop latitude: the Kodak Vision 3 500T) is considered high speed and still O.K. for 16mm.
I read the article about Macabe and Mrs. Miller in American Cinematographer after seeing the movie, what a revelation. Robert Altman too was at the beginning of his illustrious career as was Leonard Cohen, what a trio!
Excellent work again, thank you so much ! John Tool would be a great addition.
You're welcome! Sure!
Thank you very much for your work!
You're welcome!
Great video as always man
Thank you!
Terrific video. Could you add Michael Ballhaus and Michael Chapman to your DP list.
Thanks, they're on the list.
Very insightful and Honest video. can please do - Gregg Toland.
Thanks!
Understanding the cinematography of Danny Cohen please! :)
Awesome work please do Rodrigo Prieto
Thanks, coming!
Hi Sareesh, I was wondering if you could do a video explaining the difference between the tv look and the film look and how they can look different even if they were shot on the same camera.
Sure, if I can. For starters I've done a video about how to get the film look in grading.
Thanks!!
Nice work as usual. Thx for that. If you have the time to discover Sergiu Nicolaescu work, and share your thoughts would be great.
Awesome, keep it up!
I was very impressed by the work of Mikhail Krichman in The Return. Maybe you can take a look at his films?
Thanks, I'll look into it.
As always great video!
One DP that i'm interested but is practically unknown is John DeFazio, i came to know him for his work on Paul Schrader's The Canyons, i would like to see if you can find info about him, thanks!
Thanks, I'll add him to the list!
hey mate could you make a video on ED LACHMAN please ? Best
Zsigmond shot two of the best-looking world-historical box-office disasters of all time, "Heaven's Gate" and "The Bonfire of the Vanities." (Though two of the most memorable shots from the latter - the gargoyle time-lapse shot at the beginning, and the Concorde landing - were the work of second unit director Eric Schwab. "The Devil's Candy," about the making of that film, is a must-read.)
Is that Arch Hall, Jr. from "Eegah!" at 6:50?!?
Thank you for Nice & helpful video^^ Could you make video about Cinematography of Dean Semler?? He is really my favorite cinematographer;
You're welcome! Sure!
great work as always , i just saw some work of dp colin watkinson - from the movie the fall (check out the created intro !) its really great deserve a study . keep on artist
Thanks! I'll add him to the list.
Fantastic work! Could you add Jack Cardiff and Gregg Toland to your list?
Thanks, sure!
Geoffrey Unsworth, Gilbert Taylor, William A. Fraker, Andrew Lazslo.....
Would you please do an episode on Freddie Young?
Please do Rachel Morrison.
I've said it fifty times but do Freddie Young. Please.
Could you do Robert Burks and Robert Surtees? Thank you!
Sure, you're welcome!
Freddie Francis please
What's the film at 0:50? That shot and lighting are INSANE.
"The Maiden Danced To Death"
Could you do something on Bill Pope?
Can you please analyse Andrew Lesnie
Do Anthony Dod Mantle
Adam Greenberg!
8:11 wait why did they wanted to and ultimately fire him?
3:16 he actually used a leica 30-300