Frame by Frame – BlacKkKlansman (2018)

Frame By Frame

Year – 2018
Decade – 2010s
Cinematographer – Chayse Irvin (imdb link) (official site)
Director – Spike Lee (imdb link)
Aspect Ratio – 2.39
Distributor – Focus Features; Universal
Genre – Drama; Period 1970s; Best Picture Nominee
Cameras – Panaflex Millennium XL2, Arricam Lite, Aaton Penelope, Arriflex SR3 (16mm)
Lenses – Spherical; Zeiss Super Speeds MKII, Zeiss Master Primes, Panavision Ultra and Super Speeds, Panavision PVintage
Format –  35mm; 16mm
Film Stocks – Kodak Vision3 250D 5207, Kodak Vision3 500T 5219, Kodak Eastman Double-X Black & White Negative Film 5222 and 7222, Kodak Ektachrome 100D
Production info – 31 days of principal photography

Categories
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Eye Lights
Car Shots
High and Low Angles
Two Shots
Three Shots
Low Key Lighting
Police Station
Highlights
Eyelines
Phone Calls

The Movie
Based on the true story of Ron Stallworth, a black detective in the Colorado Springs Police Department who infiltrated the Ku Klux Klan in the early 1970s. The unlikely undercover mission began with Stallworth establishing phone contact posing as an interested new member, first with the local chapter and eventually with the organization’s “executive director” David Duke (played by Topher Grace). The sting ultimately became a two-man operation – with Stallworth (played by John David Washington) handling the phone calls and fellow detective Flip Zimmerman (Adam Driver) standing in for Stallworth for the face-to-face interactions.

The film earned Spike Lee his first Academy Award nomination for Best Director.

Tags:

frames 16mm, frames 2.39, frames 2010s, frames 2018, frames 35mm, frames aaton penelope, frames arricam lite, frames arriflex sr3, frames best picture nominee, frames chayse irvin, frames drama, frames focus features, frames Kodak Eastman Double-X Black & White Negative Film 5222 and 7222, frames Kodak Ektachrome 100D, frames Kodak Vision3 5207 250D, frames Kodak Vision3 5219 500T, frames Panaflex Millennium XL2, frames panavision pvintage, frames panavision ultra and super speeds, frames period 1970s, frames spherical, frames spike lee, frames universal, frames zeiss master primes, frames zeiss super speeds

Frame by Frame – Sweet Virginia (2017)

Frame By Frame

Year – 2017
Decade – 2010s
Cinematographer – Jessica Lee Gagné (imdb link)
Director – Jamie M. Dagg
Aspect Ratio – 2.39
Distributor – IFC Films
Genre – Neo Noir
Camera – Arri Alexa Mini
Lenses – Panavision Primos
Format – Digital

Categories
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Dawn                             Car Shots                         Diners                                  Hotels
Low Key Lighting       Long Takes                      Mirrors/Reflections         Frames Within Frames
Silhouettes                   Full Shots                        Establishing Shots           Foreground/Background

The Movie
A triple homicide in a remote Alaskan town brings together a former rodeo champion (Jon Bernthal) and a violent drifter (Christopher Abbott) in this moodily photographed neo-noir. Though set in Alaska, the film was shot largely in Hope, British Columbia – the same location as Rambo’s inaugural outing First Blood (1982).

Tags:

frames 2.39, frames 2010s, frames 2017, frames arri alexa mini, frames digital, frames ifc films, frames jessica lee gagné, frames neo noir, frames panavision primo

Frame by Frame – Maniac (2018)

Frame By Frame

Year – 2018
Decade – 2010s
Cinematographer – Darren Lew (imdb link)
Director – Cary Joji Fukunaga (imdb link)
Aspect Ratio – 2.39
Distributor – Netflix
Genre – Drama, Sci-Fi
Camera – Panavision Millennium DXL (optics by Panavision, color science by Light Iron, 8K large format sensor by Red)
Lenses – Panavision Anamorphics – C Series, E Series and T Series
Format – Digital

Categories
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Shot/Reverse Shot            Color                             Profile                             Low Contrast
Center Framing                  Lens Flare                    Diners                             Courtroom
Elevators                              Wide Angle Lens         Establishing Shots      Hotels
Iris                                        Office                             Frame Within Frames
Inserts                                  Bench                            Shafts of Light             Foreground/Background
Car Wreck                            Long Takes

The Show
Two participants in a pharmaceutical trial (Emma Stone, Johan Hill) find themselves intertwined in the trial’s therapuutic series of drug-induced delusions.

Tags:

frames 2.39, frames 2010s, frames 2018, frames anamorphic, frames Cary Joji Fukunaga, frames Darren Lew, frames digital, frames drama, frames netflix, frames panavision anamorphic, frames panavision c series, frames panavision e series, frames panavision t series, frames sci-fi, panavision millennium dxl

Frame by Frame: 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