Ed Rooney Posted May 26 Share Posted May 26 I suggest you have a look at the latest Netflix TV version of the first Highsmith Ripley book. They make effective and creative use of B&W. 2 Link to comment Share on other sites More sharing options...
Alex Ramsay Posted May 26 Share Posted May 26 Agreed - beautifully framed, lit and shot, and mostly very well acted, even if Andrew Scott plays Ripley as rather too lacking in charm. You find yourself wanting to freeze some of the frames for a closer look. Alex Link to comment Share on other sites More sharing options...
Harry Harrison Posted May 26 Share Posted May 26 Quite a camera that they use: https://www.facebook.com/photo?fbid=843649821125782&set=pcb.843649931125771 Article in Vanity Fair: https://www.vanityfair.com/hollywood/ripley-netflix-shot-list-awards-insider 1 Link to comment Share on other sites More sharing options...
Ed Rooney Posted May 26 Author Share Posted May 26 (edited) On 26/05/2024 at 10:29, Alex Ramsay said: Agreed - beautifully framed, lit and shot, and mostly very well acted, even if Andrew Scott plays Ripley as rather too lacking in charm. You find yourself wanting to freeze some of the frames for a closer look. Alex Yes, Alex -- it's a more sinister feeling to the story. Charm? It would be hard to match the charm of Alain Delon in Purple Noon or Matt Damon in The Talented Mr. Ripley. And John Malkovich in a later film has his own brand of charm. Scott is not meant to be charming. Edited May 28 by Ed Rooney Link to comment Share on other sites More sharing options...
spacecadet Posted May 27 Share Posted May 27 (edited) 23 hours ago, Harry Harrison said: Quite a camera that they use: https://www.facebook.com/photo?fbid=843649821125782&set=pcb.843649931125771 Arri Alexa, pretty ubiquitous on set. https://www.arri.com/en/camera-systems/cameras/alexa-35 Wires for Cinetape (rangefinder), viewfinder, video transmitter, sound, power, lens settings, metadata, Ethernet, and a few things I haven't thought of. And no, I couldn't work one out of the box either. It can be a bit simpler, here's my Steenbeck on set for the Ipcress File. Edited May 27 by spacecadet 2 Link to comment Share on other sites More sharing options...
Harry Harrison Posted May 27 Share Posted May 27 (edited) 12 minutes ago, spacecadet said: It can be a bit simpler, here's my Steenbeck on set for the Ipcress File. I read some kind of conjecture on line that they might have used vintage Summicron lenses, seems not though, Panavision Primo seems like the informed opinion. Your Steenbeck looks like it would have been equally at home on the 1965 film version. Edit: That is a set from the 2022 version? I never saw it. Edited May 27 by Harry Harrison Link to comment Share on other sites More sharing options...
spacecadet Posted May 27 Share Posted May 27 (edited) 16 minutes ago, Harry Harrison said: I read some kind of conjecture on line that they might have used vintage Summicron lenses, seems not though, Panavision Primo seems like the informed opinion. Your Steenbeck looks like it would have been equally at home on the 1965 film version. Edit: That is a set from the 2022 version? I never saw it. Primos are usually black. It could have been a rehoused vintage lens- it happens a lot. I've put a post on cinematography.com for an opinion. Well it was designed in about 1965. The scene was cut.🙁 Happens a lot, unfortunately- directors remember their Steenbecks but editors don't care. Paid in advance of course😉 Edited May 27 by spacecadet 1 Link to comment Share on other sites More sharing options...
Michael Ventura Posted May 27 Share Posted May 27 On 26/05/2024 at 05:17, Ed Rooney said: I suggest you have a look at the latest Netflix TV version of the first Highsmith Ripley book. They make effective and creative use of B&W. Thanks for the suggestion Edo! Really enjoying the cinematography. Wish more shows and movies were shot this well! 1 Link to comment Share on other sites More sharing options...
spacecadet Posted May 28 Share Posted May 28 22 hours ago, Harry Harrison said: I read some kind of conjecture on line that they might have used vintage Summicron lenses, seems not though, Panavision Primo seems like the informed opinion. Your Steenbeck looks like it would have been equally at home on the 1965 film version. Edit: That is a set from the 2022 version? I never saw it. Panavision VA- hybrid vintage and new glass rehoused. Originally unpainted. https://cinematography.com/index.php?/forums/topic/101857-ripley-lens-id/#comment-589377 Link to comment Share on other sites More sharing options...
Ed Rooney Posted May 28 Author Share Posted May 28 One of the more dangerous things Ripley shares are trips up and down the Amalfi drive. 1 Link to comment Share on other sites More sharing options...
Harry Harrison Posted May 28 Share Posted May 28 (edited) 1 hour ago, spacecadet said: Panavision VA- hybrid vintage and new glass rehoused. Originally unpainted. Thanks, great bit of detective work, I rather like the idea that modern film makers are using their amazing cameras with lenses that have 'vintage' aberrations, shades of Stanley Kubrick. I see that 'large format' has a different meaning in the film world though I've not found the actual dimensions*. https://www.arri.com/en/camera-systems/cameras/alexa-lf Apparently 'VA' just stands for Variel Avenue where Panavision is based: https://ymcinema.com/2023/02/13/panavision-super-fast-t1-4-va-large-format-prime-prototype-lens-spotted/ *Edit: Alexa LF Open gate sensor is 36.7mm x 25.54 mm making 35mm film camera lenses ideally suited. Traditional 35mm movie frames were across the 24mm frame of course. https://www.arri.com/en/learn-help/learn-help-camera-system/frequently-asked-questions/alexa-lf-faq Edited May 28 by Harry Harrison 1 Link to comment Share on other sites More sharing options...
spacecadet Posted May 28 Share Posted May 28 (edited) 1 hour ago, Harry Harrison said: Thanks, great bit of detective work, I rather like the idea that modern film makers are using their amazing cameras with lenses that have 'vintage' aberrations, shades of Stanley Kubrick. I see that 'large format' has a different meaning in the film world though I've not found the actual dimensions*. https://www.arri.com/en/camera-systems/cameras/alexa-lf Apparently 'VA' just stands for Variel Avenue where Panavision is based: https://ymcinema.com/2023/02/13/panavision-super-fast-t1-4-va-large-format-prime-prototype-lens-spotted/ *Edit: Alexa LF Open gate sensor is 36.7mm x 25.54 mm making 35mm film camera lenses ideally suited. Traditional 35mm movie frames were across the 24mm frame of course. https://www.arri.com/en/learn-help/learn-help-camera-system/frequently-asked-questions/alexa-lf-faq They weren't "vintage" when he was using them, and you couldn't just stick your own flares on afterwards! Another favourite forum of mine, cinematography.com - I've been on there longer than here. Took a long time but I seem to be in the film business now. A week's Steenbeck rental beats a year of licences. Edited May 28 by spacecadet 1 Link to comment Share on other sites More sharing options...
Harry Harrison Posted May 28 Share Posted May 28 30 minutes ago, spacecadet said: They weren't "vintage" when he was using them Well, a little bit vintage, 10 years or so: https://neiloseman.com/barry-lyndon-the-full-story-of-the-famous-f0-7-lenses/ 1 Link to comment Share on other sites More sharing options...
MDM Posted May 30 Share Posted May 30 On 26/05/2024 at 10:17, Ed Rooney said: I suggest you have a look at the latest Netflix TV version of the first Highsmith Ripley book. They make effective and creative use of B&W. Just finished watching the series Edo. Brilliant. 1 Link to comment Share on other sites More sharing options...
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