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 – 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: The Deuce – Season 1 (2017)

Frame By Frame

Year – 2017
Decade – 2010s
Cinematographers – Vanja Cernjul, Pepe Avila del Pino (pilot)
Director – various
Aspect Ratio – 1.78
Distributor – HBO
Genre – Drama; Period (1970s)
Camera – Panasonic VariCam35, Arri Alexa (pilot only)
Lenses –  Spherical; Panavision PVintage; Panavision Primos (pilot only)
Format – Digital; Shot in V-Log in HD (1920×1080) resolution with ProRes 4444 compression

Categories
Night Exteriors           Car Shots                       Frames Within Frames     Bars
Silhouettes                   Wide Shots                    Full Shots                            High Angle
Title Cards                   Mirrors                           Shafts of Light
Mercury Vapor Streetlights                              Sodium Vapor Streetlights

Clink on any link above to see similar frames from other films.

The Show
The legalization of pornography alters the lives of the denizens of New York’s seedy 42nd Street circa 1971.

Tags:

frames 1.78, frames 2010s, frames 2017, frames arri alexa, frames digital, frames drama, frames hbo, frames panasonic varicam 35, frames panavision primo, frames panavision pvintage, frames period 1970s, frames spherical

Frame by Frame: Insecure – Season 2 (2017)

Frame By Frame

Year – 2017
Decade – 2010s
Cinematographer – Ava Berkofsky (official site) and Patrick Cady
Director – various
Aspect Ratio – 1.78
Distributor – HBO
Genre – Drama
Camera – Arri Alexa
Format – Spherical

Other Key Words
Location – Los Angeles                    Short Siding                         Headroom

Further Reading
Interview with cinematographer Ava Berkofsky from Mic, which details Berkofsky’s approach to lighting the varying skin tones of Insecure

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Tags:

Frame Grabs, frames 1.78, frames 2010s, frames 2017, frames arri alexa, frames Ava Berkofsky, frames drama, frames hbo, frames headroom, frames los angeles, frames Patrick Cady, frames short siding, frames spherical

Frame by Frame: 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

Frame By Frame: 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