Recently TCM played some of the Gordon Parks films, Shaft (1971) and The Super Cops (1974). Both held up very well and you could see many creative influences they had on other early 70’s movies like Dog Day Afternoon and French Connection.
Among his other talents he also wrote songs and poetry. Like Stanley Kubrick he started as a photographer before becoming a director. That explains the great shots and cinematography in these movies.
Founded in 1915, the Technicolor Motion Picture Corporation transformed cinema forever with its revolutionary color processes. George Eastman House marks this important centennial with the exhibition In Glorious Technicolor, on view January 24 through April 26, 2015 in the special exhibition galleries.
The exhibition celebrates Technicolor’s vivid history, from the company’s early years through the making of such classics of the Hollywood studio era as The Wizard of Oz (1939), Gone With the Wind (1939), and Singin’ in the Rain (1952). Technicolor’s wide-ranging impact on the form and content of cinema is explored through original artifacts from the Technicolor Corporate Archive, projected video clips, and a range of stunning visual displays.
Highlights include the company’s evolving camera technology, from its early two-color camera from the 1920s to the massive Technirama widescreen system of the 1950s. Original costumes, production designs, posters, and photographs document how color was used creatively and presented to the public, while the vibrant dyes used to create Technicolor’s incomparable “look” shed light on the science behind the process. Rare tests from Douglas Fairbanks’s The Black Pirate (1926), behind-the-scenes stills from the Errol Flynn’s The Adventures of Robin Hood (1938), and home movies from the set of The African Queen (1951) reveal the stars and filmmakers most associated with color. Additionally, the exhibition honors the achievements of Academy Award–winning cinematographers Ray Rennahan and Jack Cardiff, as well as Technicolor’s often overlooked engineers, whose work remained largely out of the limelight.
To complement the gallery exhibition, the Dryden Theatre is presenting a four-month series of Technicolor films, including some original Technicolor prints.
In the late ’60s and early ’70s, filmmaker Peter Bogdanovich had conducted extensive interviews with Welles, but a number of circumstances–including the director’s decision to compose an autobiography that he never got around to writing–kept the interviews out of the public eye. Finally edited and annotated by Jonathan Rosenbaum, these conversations give wonderful insights into Welles’s craft and personality. He discusses his forays into acting, producing, and writing as well as directing, his confidences and insecurities, and his plans for film projects that were either never made or only partially completed.
The Smithsonian’s National Air and Space Museum will exhibit “The Great Picture” . The 3,375-square-foot photograph of an abandoned Marine Corps air station in Southern California was taken by the largest pinhole camera in the world.
John Bailey ASC, on his blog post called Drones, Drones, Drones, explains the many safety issues and FAA regulations about using camera drones.
…Thornier yet are certain looming questions of privacy rights, sexual “Peeping Tom” infringements, aural and visual harassments by drones buzzing around in public spaces, and the very real danger posed by malfunctioning, mis-piloted or mis-programmed drones — including higher-altitude (but still amateur) drones that already have nearly caused midair collisions with commercial jets
….I found videos of out-of-the-box amateur drones taking to the air (even as their new owners were still reading instructions) and crashing into high rises in midtown Manhattan, then falling onto the street below, nearly injuring a pedestrian.
…Just like the Steadicam before it, these small 4-rotor and 8-rotor drone helicopters mounted with HD cameras, from GoPros to Canon 5Ds, are quickly changing the scale of imagery that can be photographed for feature films. Many productions that have been unable to afford traditional piloted helicopters with sophisticated camera-stabilizing systems can now engage a two-person ground-based crew of pilot and operator to shoot sweeping images that “open up” a film. But that is only a small part of drones’ potential as a new camera system.
Last winter, watching director Nabil Ayouch’s Horses of God, the Moroccan entry for the Academy’s foreign-film Oscar, I saw a shot that took my breath away. A group of boys are playing on a dirt soccer pitch in the Casablanca slum of Sidi Moumen. Everything is photographed at ground level, with long-lens panning shots intercut with wider-angle close coverage on the Steadicam to build up the action sequence. A very low-angle shot then follows several boys chasing the ball — and suddenly sweeps past them, rising above their heads to reveal the intricate warren of passageways in the slum beyond. The camera continues up higher for an overview of the slum and of downtown Casablanca. It is a stunning moment because it comes at the end of an eye-level sequence. It also sets up the disjunction between these still innocent, poor children playing soccer in a trash-ridden, dusty lot—- with the indifferent modern city nearby. The film climaxes with a sequence set years later, in May 2003, when these same boys, now trained suicide bombers, simultaneously blow up several buildings in downtown Casablanca, killing themselves and 33 people. This single camera move, made with a small HD camera on a drone, set up the visual and narrative flow for the rest of the film.
Here is the trailer. There are several brief cuts of the boys on the pitch early on, and a very brief overhead drone shot tracking though the slum at 0.44: