Frame by Frame – The Platform (2019)

Year – 
2019
Decade – 
2010s
CinematographerJon D. Domínguez
Director –
 Galder Gaztelu-Urrutia
Aspect Ratio2.39
DistributorNetflix
GenreSci-Fi
Format – Digital capture
Categories – (Click on any of the following to see similar frames from other films) Frames Within Frames; Two Shots; High and Low Angles; Shafts of Lights; Inserts; Foreground/Background; Wide Shots; Close-Ups; Full Shots

The Movie
Spanish dystopian parable set in a vertical prison in which a platform of delectables descends down the structure’s hundreds of floors, offering those on top a feast and those on bottom little to eat except each other. The movie debuted at the Toronto International Film Festival in September of 2019, but hit Netflix at the onset of a coronavirus quarantine that reinforced many of the film’s themes.

“If on our platform, instead of food, we had put toilet paper or facemasks, we would be talking about the same thing, about the selfishness that lies deep in our hearts.” – The Platform director Galder Gaztelu-Urrutia



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Frame by Frame: Mindhunter Season 2 (2019)

Year2019
Decade2010s
CinematographerErik Messerschmidt (imdb link) (Instagram feed)
Director
David Fincher (Ep 1-3), Andrew Dominik (Ep 4-5), Carl Franklin (Ep 6-9)
Aspect Ratio2.2
DistributorNetflix
GenreDrama
CameraRed Helium 8K S35
LensesLeica Summilux-C
FormatDigital

The Show
Season 2 of Netflix’s based-in-fact series finds the FBI’s fledgling Behavioral Science unit putting its theories into practice to hunt a child killer in Atlanta.

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

Low Key Lighting
Composing With Large Groups
Three Shots
Two Shots
Full Shots
Eye Lights
Location – Car
Location – Bar
Skin Tones
Color – Yellow
Color – Blue
Mixed Color Temperatures

All the quotes below from cinematographer Erik Messerschmidt come from an interview I did with the DP for Filmmaker Magazine.


Single Frames

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Frame by Frame – The Ballad of Buster Scruggs (2018)

Year2018
Decade2010s
CinematographerBruno Delbonnel (imdb link)
DirectorThe Coen Brothers
Aspect Ratio1.85
DistributorNetflix
GenreWestern
Format – Digital
Camera
Arri Alexa Studio XT and Arri Alexa Mini (shot in 3.4K Open Gate ArriRaw)
LensesArri/Zeiss Master Primes and Arri Alura zooms (15.5-45mm, 30-80mm)

Cinematographer Bruno Delbonnel on his preferred focal lengths…
“I’m a big fan of wide lenses – I don’t like long lenses so for me a 32mm or 40mm is a long lens already. On Inside Llewyn Davis we shot almost everything with a 27mm. And the same here on Buster Scruggs – 70% of it is with a 27mm.” – from Variety

Categories
Clink on any link to see similar frames from other films.
Wide Shots
Breaking the Fourth Wall
Close-Ups
Western Showdown
Vanishing Point Perspective
Color – Blue
Three Shot
Dusk
Day Exteriors
Stagecoach

The Movie

“I don’t hate my fellow man, even when he’s tiresome, surly, and tries to cheat at poker. I figure that’s just the human material. And him that finds in it cause for anger and dismay is just a fool for expecting better.” – the titular gunslinger Buster Scruggs (Tim Blake Nelson) on his wanted poster nickname “The Misanthrope”

The Coen Brothers check off a pair of milestones – their first film shot digitally and their first intended primarily as a streaming experience – with this six part Western anthology that twists familiar genre archetypes including the wagon train, the bank robber, the prospector, and the gunslinger. The Coen’s subtext is often inscrutable and you’ll never catch them directly talking about the meaning of their work – even the film’s production designer says he wasn’t sure if the stagecoach passengers in the film’s final chapter are alive or dead. But mortality seems to be the brothers’ primary preoccupation here. One of the stagecoach passengers in the final segment – half of a bounty hunting duo – describes his role as distracting his targets with stories before his partner thumps them. Perhaps that’s the Coen’s way of defining their own role as storytellers – life can be cruel and its sense of humor ironic and all we can do is distract ourselves with tales until the reaper thumps us.

Joel Coen on his first streaming-centric release…
“We came into the business at a time when ancillary markets, which were essentially home video markets, were really responsible for the fact that we were able to get our movies financed. Sometimes, that was the principle way our movies were seen. So if you look at The Big Lebowski, it did a reasonable amount of box office but it did a phenomenal amount of DVDs. People primarily saw that movie on their television sets. For us to get too precious about it would be a little bit strange.”from the Washington Post

The Coen Brothers on shooting digitally for the first time…
“There’s so much latitude in what you’re capturing, you can make it look like pretty much anything later in terms of contrast, in terms of color, in terms of pretty much everything…You’re sort of deferring decisions about how it’s going to look until later because when you capture it on film, it’s actually in the grain of the negative…And when you’re capturing it digitally, you’re just sort of recording pixels, all of which are negotiable later.”from NPR

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Frame by Frame – Maniac (2018)

Year2018
Decade2010s
CinematographerDarren Lew (imdb link)
DirectorCary Joji Fukunaga (imdb link)
Aspect Ratio2.39
DistributorNetflix
GenreDrama, Sci-Fi
CameraPanavision Millennium DXL (optics by Panavision, color science by Light Iron, 8K large format sensor by Red)
LensesPanavision AnamorphicsC Series, E Series and T Series
FormatDigital

Categories
Clink on any link to see similar frames from other films.
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. Continue Reading ›