datran92

[datran92]

Baby Driver (2017)

Dir.: Edgar Wright

Cinematographer: Bill Pope

Cameras and Lens: Panavision Panaflex Millennium XL2, Panavision C-, G-, T-Series, ATZ and AWZ2 Lenses

Negative Format: 35 mm (Kodak Vision3 250D 7207), Dolby Vision Panavision (anamorphic)

Aspect Ratio: 2.35:1

[datran92]

#1film1frameChallenge

Charlie's Angels: Full Throttle (2003)

Director: McG

Cinematographer: Russell Carpenter (I)

Cameras: ARRIFLEX 435 ES Camera Panavision Panaflex Millennium Camera

Lens: Panavision Primo Anamorphic Lenses

Format: 35mm Film, Kodak Vision 500T, Anamorphic

This frame impresses me the most because of many reasons. It is well-composed, well lit, very natural and to me, it sums up the whole vibe of the movie: funny, unconventional but still elegant in its own way. Here is a gif of this shot to remind you how it plays out.

And here is another three shot that is quite comical and iconic.

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Blade Runner 2049

Blade Runner 2049 (2017)

Director: Denis Villeneuve

Cinematographer: Roger Deakins

Cameras: Arri Alexa 65, Arri Alexa XT Studio

Lens: Hasselblad Prime 65 Lenses, Zeiss Master Prime Lenses

Trailer: https://youtu.be/haXvp8M9Cog

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In addition to my previous post about "It Follows".

It Follows (2015)

Director: David Robert Mitchell Director of Photography: Mike Gioulakis Aspect ratio: 2.35 : 1

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PULP FICTION (1994) DP: Andrzej Sekula | Director: Quentin Tarantino

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IT FOLLOWS (2014) DoP: Mike Gioulakis | Dir: David Robert Mitchell

Cameras: Arri Alexa Plus and Red Epic Camera.

Captured formats: Apple ProRes and Red Raw.

Lens system: Cooke, Fujinon, Angenieux.

[datran92]

The Scent of Green Papaya (1993)

Director: Tran Anh Hung

Cinematographer: Benoît Delhomme

Aspect Ratio: 1.66 : 1

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Tron Legacy (2010)

Director: Joseph Kosinski

Cinematographer: Claudio Miranda

Cameras: Phantom HD Camera, Sony CineAlta F35 Camera

Lens: Angenieux Optimo 17-80mm T2.2 Lens, Zeiss Master Prime Lenses

Aspect Ratio: 1.78:1 (16:9), 2.39:1