Movie best cinematography shots
LOMO stands for Leningradskoye Optiko-Mekhanicheskoye Obyedinenie, a company based in St. Is this the same Lomo famous for ‘ Lomography’ and lo-fi toy cameras? Well, yes and no. The resulting image resolution is a modest 1.7K. The answer is surprising: it was shot on an Alexa Mini, using anamorphic Lomo lenses but cropped down to 4:3. The film is shot in 4:3 black and white, the images are soft and shimmering and I immediately wanted to know what it was shot on. It is a story that resonates on a number of levels as one of the characters says, ‘We are all passing for something or other, aren’t we?’. Based on a 1929 novel by Nella Larson, it tells the story of two black woman in 20s New York, one of whom has broken through social barriers by passing herself off as white. Kuperstein gets the nod for creating one of the most visually rich and unsettling horror experiences in years.Shot by Spanish cinematographer Edu Grau, it is the first feature directed by actress Rebecca Hall (daughter of theatre director Peter Hall). They kind of fit in this weird in-between time, so the audience is unsure of when the period is.” We're not shooting with the master Anamorphics that are pristine. We chose modern lenses that are pretty new, but Cookes that are kind of soft.
Trying to get that slick, modern aesthetic, but in black and white. In an interview with No Film School, Kuperstein notes: Kuperstein uses the RED Epic Dragon and modern Cooke anamorphic lenses to get as much contrast between the film’s harsh lights and deep shadows as possible. This psychodrama from first-time filmmaker Nicholas Pesce is filled to the brim with disturbing imagery that will chase away as many moviegoers as it will attract. The Eyes of My Mother, though, is no ordinary black-and-white film. RED isn’t often associated with black-and-white, as indie filmmakers often try to at least emulate analog for their aesthetic. Sergio Armstrong gets the nomination for beautifully bringing celluloid ideas to RED’s digital brain. Many travel sequences feature rear projection shots that were achieved with five cameras running at the same time.
Maybe more than any other film on this list, Neruda embraces the digital RED format as a way of modernizing classic cinema genres and motifs. “The movie’s meaning resides in the deliberate disconnect between Peluchonneau’s iconic film noirpresence (enhanced by cinematographer Sergio Armstrong’s aggressively digital photography, which creates silhouettes that look as if they’re encased in crushed velvet).” From Mike D’Angelo’s review of Neruda for the A.V. The film is a historical biopic by way of film noir, and Sergio Armstrong’s cinematography (shot on a RED Epic with no lens mention) lushly embraces the noir style.
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Neruda was the third Pablo Larraín movie this year ( Jackie and The Club) and it might be the best of the three.