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#vscocam “when the sun comes up, I couldn’t tell where heaven stopped and the earth began.”

#vscocam “when the sun comes up, I couldn’t tell where heaven stopped and the earth began.”

Notes

Perfect timing. LA #sunset from AFI. (at American Film Institute)

Perfect timing. LA #sunset from AFI. (at American Film Institute)

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Digital Bolex test grade

My stab at the new D16 footage. 24fps, 220° shutter, 1080p grade in resolve. There are a couple of hidden power windows, see if you can find them.

218 Notes

moviesincolor:



Darren Aronofsky WeekThe Fountain, 2006Cinematography: Matthew Libatique



One of primary reasons for me getting into the cinematography game. This film is one of the most stunning visual stories I’ve ever seen. 

moviesincolor:

Darren Aronofsky Week
The Fountain, 2006
Cinematography: Matthew Libatique

One of primary reasons for me getting into the cinematography game. This film is one of the most stunning visual stories I’ve ever seen. 

7 Notes

"Film is a unique art form in the sense that no one person can express himself or herself alone. You rely on a lot of unsung heroes. It’s not like an artist painting a picture where it’s just him and the easel. There are 100 people I rely on."
Owen Roizman

"Film is a unique art form in the sense that no one person can express himself or herself alone. You rely on a lot of unsung heroes. It’s not like an artist painting a picture where it’s just him and the easel. There are 100 people I rely on."

Owen Roizman

2584 Notes

moviesincolor:

Darren Aronofsky WeekRequiem For A Dream, 2000Cinematography: Matthew Libatique

moviesincolor:

Darren Aronofsky Week
Requiem For A Dream, 2000
Cinematography: Matthew Libatique

Notes

My dear friends at Seed & Spark are trying to take their innovative platform to the next level. Please, take a moment to hear them out and donate.

My dear friends at Seed & Spark are trying to take their innovative platform to the next level. Please, take a moment to hear them out and donate.

Notes

4 Notes

The right light: Rodrigo Prieto ASC, AMC lights Hagia Sophia

While scouting the Byzantine landmark with his Turkish electricians, Prieto noted ruefully that the lights in the massive chandeliers were compact fluorescents that bathed everything in a green hue. “Ali and Durmus [the Turkish electricians] said they could ask permission to change the bulbs, and they actually made it happen – they swapped out 4,000 fluorescent bulbs!” he marvels. “That actually made it a little darker, of course, but the lights were warm twinkly, and they looked beautiful. When they opened the site for tourists the next day, they got so many compliments they decided to keep them. I think they’re still there!”
-American Cinematographer, Nov. 2012, p. 64

The right light: Rodrigo Prieto ASC, AMC lights Hagia Sophia

While scouting the Byzantine landmark with his Turkish electricians, Prieto noted ruefully that the lights in the massive chandeliers were compact fluorescents that bathed everything in a green hue. “Ali and Durmus [the Turkish electricians] said they could ask permission to change the bulbs, and they actually made it happen – they swapped out 4,000 fluorescent bulbs!” he marvels. “That actually made it a little darker, of course, but the lights were warm twinkly, and they looked beautiful. When they opened the site for tourists the next day, they got so many compliments they decided to keep them. I think they’re still there!”

-American Cinematographer, Nov. 2012, p. 64

1 Notes

Lens repair: a DP’s hobby

Lens repair: a DP’s hobby