Fahrenheit 451 (2018)

Frame By Frame

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

Tags:

frames 1.78, frames 2010s, frames 2018, frames color, frames digital, frames flashbacks, frames go pro, frames hbo, frames kramer morganthau, frames lensbaby composer pro, frames night exteriors, frames opening credits, frames panasonic varicam 35, frames panavision primo zooms, frames point of view, frames ramin bahrani, frames sci-fi, frames spherical, frames zeiss super speeds

Aeon Flux (2005)

Frame By Frame

Year – 2005
Decade – 2000s
Cinematographer – Stuart Dryburgh (IMDB credits)
Director – Karyn Kusama (IMDB credits)
Aspect Ratio – 2.40
Distributor – Paramount, MTV Films
Genre – Action; Sci-Fi
Format – 35mm
Other Key Words
Warm Light       Wide Shots        Extreme Close-Ups      High and Low Angles

Click on any link to view other films featuring frames from that category.

Tags:

aeon flux, frames 2.40, frames 2000s, frames 2005, frames 35mm, frames action, frames extreme close-ups, frames high and low angles, frames karyn kusama, frames paramount, frames sci-fi, frames stuart dryburgh, frames warm light, frames wide shots

Paterno (2018)

Frame By Frame

Year – 2018
Decade – 2010s
Cinematographer – Marcell Rév
Director – Barry Levinson
Aspect Ratio – 1.78
Distributor – HBO
Genre – Drama
Camera – Alexa Mini (3.2K ProRes 4444 XQ)
Lenses – Spherical; detuned Panavision Primos
Format – Digital
*Some of Paterno’s flashback scenes were shot with 8mm and 16mm film, the latter with Arriflex 416 cameras and Arri Zeiss Standard Speed lenses
Other Key Words
Scene Breakdowns         Low key lighting              Highlights               Flashbacks

Thanks to Paterno director of photography Marcell Rév for providing me with tech specs. Check out his official site.

Click on any link for a list of other films featuring frames from that category.

Tags:

barry levinson, frames 1.78, frames 16mm, frames 2010s, frames 2018, frames arri 416, frames arri alexa mini, frames arri zeiss standard speed, frames barry levinson, frames digital, frames drama, frames flashbacks, frames hbo, frames highlights, frames low key lighting, frames marcell rev, frames panavision primo, frames prores, frames scene breakdowns, frames spherical

Night Train Murders (1975)

Frame By Frame

Year – 1975
Decade – 1970s
Cinematographer – Gabor Pogany
Director – Aldo Lado
Aspect Ratio – 1.85
Genre – Horror
Lenses – Spherical
Format – 35mm
Other Key Words – Video Nasties; Color (Blue); Zooms; 180 Degree Pan; Shot/Reverse Shot; Phone Calls

Click on any link for a list of other films featuring frames from that category.

“Every seat in this theater becomes a coach seat to hell!” – tagline from the Night Train Murders trailer

Tags:

Frame Grabs, frames 1.85, frames 180 degree pan, frames 1970s, frames 1975, frames 35mm, frames aldo lado, frames color blue, frames gabor pogany, frames horror, frames phone calls, frames shot/reverse shot, frames spherical, frames video nasties, frames zooms, Last House on the Left, movie frames, movie stills, Wes Craven

Possession (1981)

Frame By Frame

Year – 1981
Decade – 1980s
Director – Andrej Zulawski
Cinematographers – Bruno Nuytten
Aspect Ratio – 1.66
Genre – Horror
Lenses – spherical
Format – 35mm
Other Key Words –Video Nasties; Close-Ups; Phone Calls; Shot/Reverse Shot

Tags:

frames 1.66, frames 1980s, frames 1981, frames 35mm, frames bruno nuytten, frames close-ups, frames horror, frames phone calls, frames shot/reverse shot, frames spherical, frames video nasties, possession

Westworld – Season One (2017)

Frame By Frame

Year – 2017
Decade – 2010s
Cinematographers – Paul Cameron (pilot); David Franco; Jeffrey Jur; Robert McLachlan; Brendan Galvin
Director – multiple
Aspect Ratio – 1.78
Distributor – HBO
Genre – Western; Sci-Fi
Camera – Arricam Lite; Arriflex 435
Lenses – Cooke S4; Canon K35; Fujinon Premiere zooms; spherical
(Most of the show was shot on the Cookes. The K35’s were used for flashbacks/dream sequences.)
Format – 35mm; 3-perf Super 35
Film Stocks – Kodak Vision3 (5219 500T; 5207 250D; 5203 50D)
(5219 500T for night interiors/exteriors, 5207 250D for some dusk scenes, and 5203 50D for daylight interiors/exteriors.)
Other Key Words – Wide Shots; High and Low Angles; Composition; Two-Shots; Close-Ups; Shot/Reverse Shot; Bokeh

Tags:

frames 1.78, frames 2010s, frames 2017, frames 35mm, frames arricam lite, frames arriflex 435, frames bokeh, frames canon k35, frames close-ups, frames composition, frames cooke s4, frames high and low angles, frames kodak vision3, frames kodak vision3 5203 50D, frames Kodak Vision3 5207 250D, frames Kodak Vision3 5219 500T, frames paul cameron, frames sci-fi, frames shot/reverse shot, frames spherical, frames super 35, frames two-shots, frames western, frames wide shots, westworld

Lara Croft: Tomb Raider (2001)

Frame By Frame

Year – 2001
Decade – 2000s
Cinematographer – Peter Menzies Jr.
Director – Simon West
Aspect Ratio – 2.39
Distributor – Paramount
Genre – Action
Lenses – Panavision Primo
Format – 35mm; Super 35; Spherical
Other Key Words – Shafts of Light; High and Low Angles; Phone Calls

Tags:

frames 2.39, frames 2000s, frames 2001, frames 35mm, frames action, frames flashbacks, frames high and low angles, frames panavision primo, frames phone calls, frames shafts of light, frames spherical, frames super 35, lara croft tomb raider, peter menzies jr

The End of the F***ing World (2017)

Frame By Frame

Year – 2017
Decade – 2010s
Cinematographer – Justin Brown (episodes 1-5), Ben Fordesman (episodes 5-8),
Director – Jonathan Entwistle (episodes 1-5), Lucy Tcherniak (5-8)
Aspect Ratio – 1.78, 1.33 (flashback scenes)
Distributor – Netflix
Genre – Drama; Road Movie

Tags:

Ben Fordesman, frames 1.33, frames 1.78, frames 2010s, frames 2017, frames ben fordesman, frames car, frames centered, frames diner, frames drama, frames flashbacks, frames justin brown, frames police interrogation, frames road movie, frames wide shots, Justin Brown, The End of the Fucking World