Podcasts about ultra panavision

Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 1️⃣✖0️⃣3️⃣ | BEN-HUR Dirigida por William Wyler y protagonizada por Charlton Heston nos cuenta la historia de Judá Ben-Hur, hijo de una familia noble de Jerusalén, y Mesala, un amigo de la infancia con el que acabará enemistado, durante la época de Jesucristo. Completan el reparto Jack Hawkins, Stephen Boyd, Haya Harareet o Hugh Griffith, entre otros. Música de Miklós Rózsa, fotografía de Robert Surtees y guion de Karl Turnberg, que adapta una novela de Lewis Wallace y que convierte a Ben-Hur en una de las grandes obras de la historia del cine. ¿Sabías que se rodó en un formato único y fugaz llamado MGM 65 / Ultra Panavision 70 ?. ¿Qué sabes de la carrera de cuadrigas?. ¿Sabes que inspiró a la famosa carrera de vainas de Star Wars?. Y debatimos, ¿Lacra la religión su vigencia en nuevas generaciones? Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a Ben-Hur. SECCIONES ▪️ Contexto ▪️ El MGM 65 / Ultra Panavision 70 ▪️ La carrera de cuadrigas ▪️ Star Wars y la carrera de cuadrigas ▪️ ¿Lacra la religión su vigencia en nuevas generaciones? ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/1x03-podcastwood-ben-hur/ ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/1x03-podcastwood-ben-hur/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023

With the Bad Dads reduced to a mere duo through a combination of illness and stupidity on behalf of the rest of the team, it's up to Sidey and Dan to steady the ship and bring us this week's show. Trees. Bloody magnificent aren't they. You can climb them, put a tree house in them - hell build an entire city in one if you like - marvel at their beauty, rescue a cat from them, eat their fruits or use them as a metaphor for an abusive relationship as in Shel Silverstein's haunting children's book The Giving Tree. Oh, and you can use them as the topic for a Top 5 which is exactly what we did this week. I haven't seen Hateful's 1-to-7. With that out of the way we can talk about Quentin Tarantino's provocative 2015 western THE HATEFUL EIGHT, apparently sometimes marketed as "The H8ful Eight", a fact which makes me loathe my fellow humans that little bit more. Breath-taking cinematography, the movie was filmed using 65 mm lenses and released to be played with Ultra Panavision 70 mm projectors which Tarantino himself helped kit out cinemas with (possibly). As you well know, this takes the native 2.20:1 aspect ratio and then expands it by shooting with 1.25x anamorphic lenses, later unsqueezed to a super-wide 2.75:1 — much wider than the normal widescreen in cinema today, which is 2.39/2.40:1. It's also incredibly bleak and nihilistic, Tarantino unflinching in holding up a mirror to the USA's historical and ongoing issues with racism, told through stories featuring mouth-rape, a woman being punched many, many times and a man having his genitals blown off by Channing Tatum (not in a good way). DIVE CLUB is FREE REIN meets HOME & AWAY meets BAYWATCH NIGHTS except in that version in my head the horses are all wearing red swimsuits and have drowned. Let's be honest, Sidey is just a randy bugger and presumably the cast of young, attractive people caught his eye whilst browsing Netflix and here we are. This was better than I thought it would be though, so that's something. We love to hear from our listeners! By which I mean we tolerate it. Try us on twitter @dads_film, on Facebook Bad Dads Film Review or on our website baddadsfilm.com.  Until next time, we remain...  Bad Dads

เวลาดูหนังในจอทีวีทำไมถึงมีขอบดำบนล่าง ฉายหนังเต็มจอไม่ได้เหรอ ไปดูในโรงแล้วทำไมหนังบางเรื่องผ้าม่านขยายออก ทำไมหนังแต่ละเรื่องมีขอบดำไม่เท่ากัน ไม่เอาขอบดำไม่ได้เหรอ มาหาคำตอบกันได้แบบเจาะลึกแต่เบื้องต้นของประวัติศาสตร์ภาพยนตร์ที่มีผลต่อสัดส่วนภาพในภาพยนตร์ตั้งแต่อดีตจนถึงปัจจุบัน Time Stamp ประวัติศาสตร์ภาพยนตร์ (11:30) 1.33:1 (14:03) Academy Format 1.37:1 (17:18) Widescreen (20:21) Polyvision 4.00:1 (21:24) Cinerama 2.59:1 (23:15) Hard Matte 1.66:1 (24:31) Soft Matte 1.85:1 (26:19) CinemaScope 2.55:1 (30:20) 65/70mm 2.20:1 (32:48) Modern Anamorphic 2.35:1-2.39:1-2.40:1 (34:21) Ultra Panavision 70 2.76:1 (36:25) IMAX 1.44:1, 1.90:1 (38:10) Univision/Univisium 2.00:1 (44:00)

I veckans avsnitt stänger vi in oss i stugan tillsammans med Jonna Vanhatalo för att snacka om Quentin Tarantinos åttonde långfilm THE HATEFUL EIGHT. Det blir diskussioner om allt från nödvändigt våld och detektivtematik till glooorious 70mm Ultra Panavision och vad det egentligen tillför till Tarantinos berättelse. Medverkande: Patrik Linderholm, Hannes Kinnunen och Jonna Vanhatalo Kontakt: filmmixern@gmail.com

Nobody wins. This week, Katey, Patches, Da7e and Joanna all traveled to real theaters to see an Ultra Panavision 70 movie shot and projected on honest-to-God celluloid: The Hateful Eight 70mm Roadshow.  Quentin Tarantino’s latest is a Western potboiler in two acts with a bunch of characters who are trapped together in a snowstorm inside […]

Kicking off 2016 and Year Two of BEHIND THE LENS is special guest, director/producer and native Philadelphian, Liz Hinlein who marks her directorial feature debut with OTHER PEOPLE'S CHILDREN. Already an award-winning director known for her commercial work as well as music videos and rockumentaries, Liz moves into the feature director's chair with this emotionally driven and visually stimulating work. With distinctive and beauteous cinematography by Liz and her DP Edward Button, visuals are a key component to her storytelling, be it in Other People's Children or a cosmetics commercial. Take a listen as Liz and debbie talk about her directorial curve from a "coddled commercial director" to "independent feature filmmaker". And, BTL wrapped up 2015 with interview excerpts from Quentin Tarantino talking 70mm, Ultra Panavision and THE HATEFUL EIGHT. To get some more insight into the making of THE HATEFUL EIGHT, take a listen now to excerpts of debbie's exclusive interviews with THE HATEFUL EIGHT producer Richard N. Gladstein, and editor Fred Raskin. http://behindthelensonline.net http://eliasentertainmentnetwork.com

OBS: INGA spoilers innan 41:48 in i avsnittet. Erik och Oskar har varit och sett den nya Tarantino-filmen "The Hateful Eight" som visas i sitt originalformat 70 mm/Ultra Panavision på Rigoletto i Stockholm, som enda biograf i Sverige under en begränsad period innan den officiella premiären.

It's rare that a single artist can motivate an industry to rally behind a project or artistic vision. In the case of Quentin Tarantino's Hateful Eight, that is exactly what happened. Two of the key players in bringing this unique cinematic experience to moviegoers across the globe are Panavision and Fotokem. They are joining us in the Kodakery to discuss the challenges of bringing this movie to life using Ultra Panavision and the photochemical process. It's a great discussion about resurrecting a classic technology, Hollywood history and working with Quentin Tarantino. Please give it a listen! We hope you enjoy.

Oscar winning Cinematographer Robert Richardson sits down with James Mathers, Founder, Digital Cinema Society (DCS) to discuss THE HATEFUL EIGHT following the American Cinematheque premiere of the film, December 13, 2015, The Egyptian Theatre Hollywood. Listen to our THE HATEFUL EIGHT review podcast - https://soundcloud.com/haroldmaudecast/ep-254-the-hateful-eight

I can't imagine a better way to wrap up 2015 and the first year of BEHIND THE LENS than with two incredible guests - actor and now writer/director, Eddie Jemison, and producer/director Nick Fitzhugh. At the quarter hour mark take a listen as Eddie Jemison and I talk about his directorial debut, KING OF HERRINGS. Solid storytelling and standout performances, most notably by Jemison's real life and on-screen wife Laura Lamson, are a hallmark of this film as Eddie and I talk about his inspiration, his 25-year friendship with his co-stars and the art of directing. One of my favorite guests of the year, I can't wait for Eddie to join me again. Shifting gears at the half hour mark, producer/director/cinematographer/showrunner Nick Fitzhugh is live talking about one of the most indelible television mini-series to come around in a long time - CONFLICT. A six-part miniseries focusing on the roots of human conflict as seen through the eyes of some of the world's best conflict photographers, CONFLICT embeds itself on your conscience. Nick's insight into the project, its genesis and its future direction is not to be missed. And then there's Tarantino, Quentin Tarantino. Take a listen to some excerpts of what Quentin had to say at the recent press conference for THE HATEFUL EIGHT about his use of Ultra Panavision and shooting in 70mm! (Programing Note: Tune in LIVE to our January 4, 2016 show for more on THE HATEFUL EIGHT when you'll hear my exclusive interviews with producer Richard Gladstein and editor Fred Raskin.) http://behindthelensonline.net http://eliasentertainmentnetwork.com

On today’s show, we take a look at the craftsmanship that was required to shoot Quentin Tarantino’s The Hateful Eight in Ultra Panavision 70mm and project Star Wars: The Force Awakens in IMAX 70mm on quaint, old film. Then we decide if today’s luxury movie theater experience is stupid, or amazing.

Two of Hollywood's top directors and film preservation advocates, Christopher Nolan and Quentin Tarantino, discuss Tarantino's latest film The Hateful Eight, including why he shot on Ultra Panavision 70mm film, and creating a film score with legendary film composer, Ennio Morricone.

We review Quentin Tarantino's new film, THE HATEFUL EIGHT. Shot on Ultra Panavision 70mm by Oscar winning cinematographer Robert Richardson, scored by Oscar winning composer Ennio Morricone and starring Kurt Russell, Samuel L Jackson, Jennifer Jason Leigh, Walton Goggins, Tim Roth and Michael Madsen. 9.5/10 on our Justice & Doom Meter - www.haroldmaudecast.com

Ah, the good ol' digital vs film debate. Well you won't get any of that in the article or podcast. With Quentin Tarantino's The Hateful Eight coming out Dec 25, 2015, and it being shot in "Glorious 70mm," there has been a lot of chatter about film again.With filmmakers like Christopher Nolan shooting 35mm and IMAX on his latest film and JJ Abrams shooting Star Wars: The Force Awakens in 35 mm, film seems to still be an art form that many filmmakers are not ready to let go of just yet.What Quentin Tarantino has done with The Hateful Eight is unique. He has brought back to life the Ultra Panavision 70 technique along with anamorphic 65mm lenses that haven't been seen since the 60's.Here are some specs:Camera: Panavision 65 HR Camera and Panavision Panaflex System 65 StudioLenses: Panavision APO PanatarFilm Stock 65mm: Kodak Vision3 200T 5213, Vision3 500T 5219Aspect Ratio: 2.75:1Listen to the episode for the rest.