3D
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“The Lumières Dreamt of 3D”: Wim Wenders on Anselm at Cannes 2023
German filmmaker Wim Wenders has two new features in Cannes this year, one of which, Anselm, is a documentary portrait of German artist Anselm Kiefer. Like Pina (2011)—his filmed portrait of the late Tanztheater dancer and choreographer Pina Bausch—Anselm was shot and projected in 3D (his fourth solo feature to be filmed in the format, with a fifth already on the way), reasserting Wenders’ dedication to the format at a time when few filmmakers in the industry not named James Cameron or Ang Lee continue to explore it. Kiefer’s work, like Bausch’s, is naturally accommodating to 3D photography. Filmed at various […]
by Blake Williams on May 24, 2023 -
TIFF 2019, Day 3: The Personal History of David Copperfield, Cunningham
Does Armando Iannucci’s The Personal History of David Copperfield have an obvious/meaningful relationship to his other work, and what attracted him to this adaptation in the first place? The former is easier to answer: Iannucci, age 55, studied English literature at Oxford and almost wrote a PhD on Paradise Lost, so it’s not surprising he has an affinity for Charles Dickens, any more so than it’s unexpected that the overeducated Oxbridge students at Monty Python’s core would perform a sketch about Proust. Nor is Iannucci’s love for Dickens recent news: check out his hour-long 2012 BBC special Armando’s Tale of Charles Dickens, where […]
by Vadim Rizov on Sep 7, 2019 -
A Dream Within A Dream: Bi Gan on Long Day’s Journey Into Night
After his road movie Kaili Blues became an international success, writer and director Bi Gan turned to the film noir genre for his follow up, Long Day’s Journey into Night. The layered, dreamlike plot follows Luo Hongwu (played by Huang Jue) as he returns to his hometown, looking into the past for clues about what happened to Wildcat (Lee Hong), a lost love he last saw more than a decade ago. Set in the bars, alleys and seedy hotels of Gan’s home province, the film is divided into two parts. Elliptical scenes and a fractured timeline give the first half […]
by Daniel Eagan on Mar 14, 2019 -
A New Kind of Magic: Douglas Trumbull on Magi, HFR and Dynamic Frame Rates
With the passing of Douglas Trumbull, the great visual effects pioneer, we’re reposting Sam May’s 2017 article from Filmmaker’s Summer, 2017 print edition on his innovative late-career work on high-frame-rate cinema. –Editor You might not recognize the name Douglas Trumbull, but you will certainly recognize his work. He is the man behind the special effects of 2001: A Space Odyssey, Blade Runner and Close Encounters of the Third Kind, and also the director of Silent Running and Brainstorm. In recent years, he has dedicated himself to “figuring out the future of cinema.” The result: Magi cinema, a means of shooting […]
by Sam May on Feb 8, 2017 -
Future Vision
Not long ago, I was lucky enough to be seated at lunch alongside Garrett Brown, the 74-year-old Oscar-winning inventor of the Steadicam. We were at the 2014 Locarno Film Festival, where Brown was being honored with the Vision Award. I’m not sure exactly how I ended up at the table, but also seated there was Fabrice Aragno, the young cinematographer responsible for the optical assault of Jean-Luc Godard’s 3-D punk masterpiece Goodbye to Language. It seemed appropriate to have the two side by side. Having operated the camera for Woody Allen, Sidney Lumet, Sidney Pollock, Stanley Kubrick, Martin Scorsese and […]
by Paul Dallas on Jan 18, 2017 -
How to Appreciate the Techno-Aesthetic Breakthroughs of Ang Lee’s Billy Lynn’s Long Halftime Walk
Tonight, Friday, October 14, 2016, the Film Society of Lincoln Center makes cinema history with the New York Film Festival’s world premiere of Ang Lee’s Billy Lynn’s Long Halftime Walk, presented at the 600-seat AMC Loews Lincoln Square 13 IMAX theater on its 100-foot-wide screen, the largest in North America. The brief on this technological milestone? Images shot and projected at 120 fps, dual 4K RGB laser projectors that display wide color gamut and high dynamic range, bright RealD 3D, 12-channel audio with overhead speakers plus sub-bass. Talk about immersive! And what of the film itself? Billy Lynn’s Long Halftime […]
by David Leitner on Oct 14, 2016 -
Watch: Lytro Cinema, the Camera that Could Kill Two-Camera 3D Camera Rigs
Next week at NAB, a potentially very important new camera is being debuted. The Lytro Cinema camera has capabilities that could potentially eliminate the need for two-camera 3D rigs. Over at Studio Daily, Bryant Frazer has a good explanation of the camera’s features, technical specifications and potential implications. (Note: it’s going to be a very expensive piece of equipment, at least at first.) As he sets it up: Lytro is debuting a light-field cinema camera that captures volumetric data about a scene rather than a single image from one fixed perspective. That means it captures information about the direction light is traveling, […]
by Filmmaker Staff on Apr 11, 2016 -
Watch: Joe Dante on The Mask (1961)
Joe Dante is one of the collaborators behind the site Trailers From Hell, which regularly posts videos of directors speaking about films of their choice. For this video, Dante himself appears to give a little history on the 1961 horror film The Mask. Topics of discussion include anaglyph 3D, the rise of Canucksploitation, and the exploits of late publicist Jim Moran (who once sat on an ostrich egg for 19 days until it hatched as part of a publicity stunt).
by Filmmaker Staff on Nov 11, 2015 -
On Not Seeing The Martian, 3D Lens Misprojection and the Wretchedness of the Multiplex
In 2011, Ty Burr wrote an article on the most common scourge of multiplex projection: seeing a film projected that is obviously far darker than it should be because a 2D film is being projected through a 3D lens. This is still happening, and I want to use this website to yell about it a little bit: this is a common problem that simply should not exist at this late date. The rise of digital projection is a cost-friendly win for both studios who can save money on printing and shipping prints and movie theaters, which theoretically no longer have to […]
by Vadim Rizov on Nov 2, 2015 -
Bizarre Love Triangle: Gaspar Noé on Love
A threesome in 3-D and unsimulated sex in a simulated cinematic hyper-reality: that’s what Gaspar Noé’s latest film Love has been promising for months. At Cannes in 2014, producer Vincent Maraval teased audiences with explicit promo materials, pledging plenty of penis, nipple and onscreen ejaculate. While the film has all three in abundance, it turns out Love is more about loss than sex. The surprisingly sentimental tale begins with Murphy (Karl Glusman) receiving a desperate voicemail message from an ex’s mother. Murphy’s an American in Paris with a French girlfriend, crying baby and New Year’s Day hangover — a trifecta about […]
by Whitney Mallett on Oct 28, 2015
