Continuing from another thread, I'm going to say Conrad Hall is my favorite. What an amazing photographer he was. You could freeze frame almost any shot from some of his films, print it out, and hang it up on your wall. His stuff is just gorgeous.
I could name a dozen other favorites, but I won't. Anybody else?
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vacatetheword wrote:
I'll let you in on a little secret. Sometimes we mis-spell stuff and just tell you Americans 'it's how we spell it here'
I'm not sure on the names, but whoever did these films...
-Lock, Stock and Two Smoking Barrels -Saving Private Ryan -Se7en -Ocean's Eleven (2001) -Lost In Translation -The Matrix
-Tim Maurice-Jones. Eh. I'm going to point to Richie as the real brains behind that camera.
-Janusz Kaminski. Brilliant. Has done a lot of Spielberg's stuff since the early 90s.
-Darius Khondji. Pretty good. I don't recognize much of his stuff outside of a couple Fincher films, though.
-Soderburgh does a lot of his own cinematography these days and he's fucking great at it, although he uses a psuedonym called "Peter Andrews". Traffic was an incredibly shot movie, as well.
-Lance Acord. Eh. Average, aside from LiT.
-Bill Pope. Eh. Lots of action stuff that wasn't particularly well shot and doesn't really impress me.
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vacatetheword wrote:
I'll let you in on a little secret. Sometimes we mis-spell stuff and just tell you Americans 'it's how we spell it here'
Joined: Mon Oct 18, 2004 7:25 am Posts: 1235 Location: Philadelphia
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
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stip wrote:
All this baseball talk makes me wonder where Meg is.
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
Good Lord, you know a lot about movies. I've always wished I better understood the more techical side of filmmaking.
What is "step-printing"?
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vacatetheword wrote:
I'll let you in on a little secret. Sometimes we mis-spell stuff and just tell you Americans 'it's how we spell it here'
Joined: Sun Oct 17, 2004 4:01 am Posts: 19477 Location: Brooklyn NY
pamplemousse wrote:
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
_________________
LittleWing sometime in July 2007 wrote:
Unfortunately, it's so elementary, and the big time investors behind the drive in the stock market aren't so stupid. This isn't the false economy of 2000.
Joined: Mon Oct 18, 2004 7:25 am Posts: 1235 Location: Philadelphia
Auggiestyle wrote:
pamplemousse wrote:
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
Good Lord, you know a lot about movies. I've always wished I better understood the more techical side of filmmaking.
What is "step-printing"?
Oh, thanks! I'm such a dork.
Step-printing is a device that is trademark to Wong Kar Wai as the Mexican stand-off is to John Woo. On the screen, it looks fuzzy and messy, and sort of flickered on and off. It's the result of undercranking the film speed so that the motion is fast. Then, the camera is overcranked so that there are less frames in each second. You see a smaller number of frames in a second than you normally would, so you see the action in a regular speed, but there is a smear between swift moments of clarity. It's really neat to watch. I recommend "Chungking Express," if you get a chance. It's the effect used in the beginning. You'll probably understand what I'm talking about if you watch it.
_________________
stip wrote:
All this baseball talk makes me wonder where Meg is.
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
Good Lord, you know a lot about movies. I've always wished I better understood the more techical side of filmmaking.
What is "step-printing"?
Oh, thanks! I'm such a dork.
Step-printing is a device that is trademark to Wong Kar Wai as the Mexican stand-off is to John Woo. On the screen, it looks fuzzy and messy, and sort of flickered on and off. It's the result of undercranking the film speed so that the motion is fast. Then, the camera is overcranked so that there are less frames in each second. You see a smaller number of frames in a second than you normally would, so you see the action in a regular speed, but there is a smear between swift moments of clarity. It's really neat to watch. I recommend "Chungking Express," if you get a chance. It's the effect used in the beginning. You'll probably understand what I'm talking about if you watch it.
Hmm. Awesome. I might check it out for just that, if nothing else.
_________________
vacatetheword wrote:
I'll let you in on a little secret. Sometimes we mis-spell stuff and just tell you Americans 'it's how we spell it here'
Joined: Mon Oct 18, 2004 7:25 am Posts: 1235 Location: Philadelphia
Auggiestyle wrote:
pamplemousse wrote:
Auggiestyle wrote:
pamplemousse wrote:
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
Good Lord, you know a lot about movies. I've always wished I better understood the more techical side of filmmaking.
What is "step-printing"?
Oh, thanks! I'm such a dork.
Step-printing is a device that is trademark to Wong Kar Wai as the Mexican stand-off is to John Woo. On the screen, it looks fuzzy and messy, and sort of flickered on and off. It's the result of undercranking the film speed so that the motion is fast. Then, the camera is overcranked so that there are less frames in each second. You see a smaller number of frames in a second than you normally would, so you see the action in a regular speed, but there is a smear between swift moments of clarity. It's really neat to watch. I recommend "Chungking Express," if you get a chance. It's the effect used in the beginning. You'll probably understand what I'm talking about if you watch it.
Hmm. Awesome. I might check it out for just that, if nothing else.
If you do, please be sure to let me know what you think of it! I love it, but it's a little odd the first time you watch it.
_________________
stip wrote:
All this baseball talk makes me wonder where Meg is.
Joined: Mon Oct 18, 2004 7:25 am Posts: 1235 Location: Philadelphia
glorified_version wrote:
pamplemousse wrote:
Great call on Conrad Hall, Auggie! He's one of my favorites, but my top is Christopher Doyle. He's the cinematographer famously known for Wong Kar Wai's films and the Hong Kong cinema in general. In my opinion, Hong Kong possesses the greatest cinema of all, and that is due more than anything else to the style and aesthetic of the films. It's all in cinematography that makes the films so overwhelmingly engrossing. Hong Kong films have never really bothered with character identity and background like Hollywood films do. Hong Kong films are more about the presentation. Christopher Doyle has been very enigmatic and intriguing as a cinematographer. In Wong Kar Wai's "Chungking Express," he used step-printing that would serve as a clue for the plot and the most interesting choices of framework I had ever seen. He still impresses me and is very impacting and original to this day. With Zhang Yimou's "Hero," he displayed some graphic imagery in very memorable scenes. The falling leaves scene was spectacular. He is loose and diverse in his creativity, and that allows him to use space and time so well in his films that the aesthetic is permanent.
My only sadness is that he and Wong Kar Wai have split paths... again. They were working on Wong Kar Wai's latest film and Chris left, so two other cinematographers will be credited with the work. I hope that's resolved soon, because they are my favorite team.
_________________
stip wrote:
All this baseball talk makes me wonder where Meg is.
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