Unforgiven: The Cinematography of Jack N. Greene

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Last year, actor Ken Watanbe starred in the Japanese remake of a film called Unforgiven. Though it may have had a limited release, its reception wasn’t diminished in the slightest. Acclaimed by critics worldwide, Yurusarezaru mono continued the cinematic relationship between samurai epics and spaghetti westerns at full ignition; the tradition’s beginnings are rooted in Sergio Leone’s A Fistful of Dollars, which was a scene-by-scene remake of Akira Kurosawa’s Yojimbo.

Out of everything the film achieved, Yurusarezaru mono reminded us that Unforgiven still remains an ageless masterpiece. After its release, the film became known as a eulogy to classic spaghetti western cinema; in other words, it signified the end of a generation. If that statement holds any truth to it all, then it’s fitting that Unforgiven was helmed by Clint Eastwood, who starred in the Sergio Leone trilogy that pioneered the genre in the first place.

The reason I bring up the fact that it eulogized a generation for this post is because of the fact that Unforgiven was entirely rooted in it; every element that made it what it was borrowed from the old classics, and that included direction, music, writing, and cinematography.

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This is What Real Black and White Filming looks like: Digital Bolex’s D16M

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Amidst all the noise generated by the NAB Show in the past two days already – with 4K Cameras making the headlines on every photography blog out there, or with companies like Blackmagic flooring audiences with how much they’re evolving the technology of cinema – There’s quite a few cool announcements that get lost in the middle. One of them is from Digital Bolex, and it’s a monochrome camera (based off the original D16) called the D16M.

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The Cinematography of Roger Deakins

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A cinematographer is also known as a director of photography. They’re the guys that make the movies we watch look how they look. It’s their photographic eye that we see. And they don’t get too much recognition for the work they do, with most of the attention going towards the director and actor already. I wanted to write about a few good ones and see if it can become a weekly thing if you guys are into it. You probably know the work these guys have done, so I’ll cover what they did to get the shots that we see on the big screen.

If this is going to be the first out of more to come, I’ll start it off with a bang by focusing it on Roger Deakins.

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Panasonic Unveils the New VariCam 35 with 4K & 120 fps Capabilities

Thanks to Planet 5D for the heads up on this!

Disclaimer: if you have a weak wallet, then don’t read this.

Actually, in this case, all of our wallets are most likely crying in the corner, so it’s okay. Just appreciate the camera, I guess.

Panasonic took part in a press conference just yesterday in New Jersey, where it announced a new entry targeted towards the high-high-high end market of cinema. The 4K camera/video-recorder is titled the VariCam 35 (AU-VREC1), and it claims to be a powerhouse in handling a variety of formats.

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