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Post by Popeye Doyle on Feb 3, 2019 4:46:29 GMT
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Post by petrolino on Feb 3, 2019 14:27:39 GMT
By Hungarian cinematographer Vilmos Szigmond whose camera crew included Cuban camera operator Enrique Bravo. Bravo worked on several William Friedkin films including 'The French Connection' (1971). He was a fine cinematographer in his own right but his forte was working hand-held cameras on location.
"But there is also a sense of verite style immediacy that is produced through unsteady zoom reframings, handheld shots, and in one instance, a whip pan that momentarily blurs the visual field. The sense of visual presence these techniques convey also create a perceptual environment of uncertainty. William Friedkin claims that he would often abstain from providing camera operator Enrique Bravo information about blocking and movement, letting him instead "find the scene" as it was being acted out."
- Nathan Holmes on 'The French Connection', 'Welcome To Fear City : Crime Film, Crisis And The Urban Imagination
In Italy, Umberto Lenzi was a master of this whip pan technique and would play with focus when utilising it in crime and horror films (often shot on location). For me, what makes 'The Deer Hunter' special is the juxtapositioning between these two different shooting styles. When Michael is hunting everything is serene and there's the landscape photography.
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