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: 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