Hell on Wheels: Season 1 (2011)

Year2011
Decade2010s
CinematographerElliot Davis (pilot), Marvin Rush (all other Season 1 episodes)
Director – multiple
Aspect Ratio1.78
DistributorAMC
GenreWestern
CameraArri Alexa
LensesSpherical
FormatDigital

Key Words

Silhouettes           Low Angles            Scene: Campfire              Candlelight
Day Exterior        Night Exterior       Desaturation                   Close-Ups
Wide Shots           Firearms 

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The Show
A freed slave (Common), an unscrupulous magnate (Colm Meaney), and a Confederate soldier hellbent on revenge (Anson Mount) are among the characters in this Western detailing the building of the first transcontinental railroad. The show ran for five seasons an AMC. Continue Reading ›

The Posters of Bruce Lee

Bruce Lee starred in only four films before dying at the age of 32 in 1973, with his most popular vehicle – the Warner Bros. produced Enter the Dragon – released posthumously. Yet his brief career inspired an array of colorful posters from around the globe, highlighted by the work of French artist Jean Mascii and Italian illustrator Averardo Ciriello.

All images via Heritage Auctions. Ciriello’s The Big Boss and Chinese Connection posters are currently up for bid on the site through July 22nd. Continue Reading ›

Friday the 13th (1980)

Year1980
Decade1980s
CinematographerBarry Abrams (imdb link)
DirectorSean S. Cunningham (imdb link)
Make-Up Effects – Tom Savini (imdb link)
Aspect Ratio
 – 1.85
DistributorParamount
GenreHorror, Slasher
LensesSpherical
Format35mm
Other Key Words
Point of View
Shot-by-Shot Scene Breakdowns

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Hombre (1967)

Year – 1967
Decade – 1960s
Cinematographer – James Wong Howe (imdb credits)
Director – Martin Ritt (imdb credits)
Aspect Ratio – 2.40
Distributor – 20th Century Fox
Genre – Western
Lenses – Anamorphic
Format – 35mm
Other Key Words:
Group Compositions 
Opening Credits
Shot/Reverse Shot
Scene Breakdowns

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Cinematographer Darran Tiernan talks Westworld Season 2

“I’ve been a cinematographer for 20 years, so I started on film and the majority of things I’ve shot have been on film, but when I got Westworld I hadn’t shot film for three years. I was actually terrified, to be honest. (laughs) I was quite nervous, but it ended up being absolutely wonderful to work on film again. I missed it. There is a reverence on set when the camera is spitting film through its gate. That’s the sound of money. Everybody is concentrated on what they’re doing. With digital, sometimes people don’t have the same self-control and they just keep shooting.” – Cinematographer Darran Tiernan

Check out my interview for Filmmaker Magazine with Darran Tiernan, who lensed five of the ten episodes of Westworld’s second season. Shot on 35mm with Arri Zeiss Master Primes and 75mm-400mm Fujinon Premier zooms.

Another sample….

Filmmaker: At this point I’m only through episode 3, which ends in a large scale battle between Delos security forces and a band of hosts holed up at Fort Forlorn Hope. How difficult is that scale to achieve on a TV schedule?

Tiernan: That battle sequence was shot over three days. Most of the real big battle scenes were shot on one massive day where we had seven cameras. We shot one direction in the morning, we shot another direction mid-day and then another direction in the evening. The next day we blew up the field in front of the fort. We had to plan it like a proper battle, deciding where every camera was going to go for each sequence. It was quite a phenomenal thing to be involved in, with so many departments all in sync in order to pull it off in the time that we had.

I also remember it being incredibly hot. Evan Rachel Wood [who plays Dolores] discovered that the electricians had a heat gun, which is this device that you can point at something and it will tell you the temperature rising off it. At one point she came up to me and said, “It’s 115 degrees on the ground.” All those poor Confederados in their wool period suits. (laughs) 

 

Fahrenheit 451 (2018)

Year 2018
Decade – 2010s
Cinematographers – Kramer Morgenthau (IMDB link)
Director – Ramin Bahrani (IMDB link)
Aspect Ratio – 1.78
Distributor – HBO
Genre Sci-Fi
Cameras – Panasonic VariCam 35 (3840×2160 UHD with AVC-Intra compression) for the main cameras; Zenmuse X5S on a DJI Inspire 2 drone for wide aerial shots; GoPro Hero4 Black for point of view shots
Lenses – Zeiss Super Speeds for the main lenses; Panavision Primo zooms and Lensbaby Composor Pros (for flashbacks) were also used
Format Digital; Spherical
Miscellaneous – According to American Cinematographer magazine, Morgenthau favored the 29mm and 40mm Super Speeds and typically shot between a T1.4 and a T2.0. Director Ramin Bahrani’s visual references included Orson Welles’ Touch of Evil and The Trial.
Other Key Words
Opening Credits             Color               Flashbacks             Point of View              Night Exteriors

Further Reading
American Cinematographer magazine’s feature on the film, from the June 2018 issue
CinemaTechnic’s history of the Zeiss Super Speeds
Interview with cinematographer Kramer Morganthau from Panavison’s official site Continue Reading ›