Hidden camera inside casino - NOT good (Blackjack) (2018)
For casino camera operator sprawling and ambitious Vegas crime epic Casino 1995director Martin Scorsese convened an accomplished group of artisans, including cinematographer and his crack crew gaffer Ian Kincaid, key grip Chris Centrella and first camera operator Casino camera operator Thorin, Jr.
Also on hand were click at this page pair of seasoned Scorsese regulars, editor Thelma Schoonmaker and assistant director Joe Reidy.
The complete story on the making of Casino can be found in the Nov.
A period piece set in the flamboyant Seventies, Casino relates the tale of Sam "Ace" Rothstein Robert De Niroan expert handicapper who enters the upper echelons of the Las Vegas crime world when he is selected by the Mafia to head a cash-rich gambling concern.
Accompanying Rothstein during his rise is his lifelong friend, mob muscleman Nicky Santoro Joe Pesci.
Here, Ace and Nicky have a memorable meeting in the desert, far outside the Vegas city limits.
Also pictured are Richardson and Scorsese at the camera.
The filmmakers would later re-team on Bringing Out the Dead 1999The Aviator 2004the documentary Shine a Light 2008Shutter Island 2010 and Hugo 2011.
Scorsese takes a turn at the eyepiece with Richardson at hand as they shoot in the desert outside Las Casino camera operator />Film buffs will note the reccurrence of themes — the exhilaration of power and the inevitability of betrayal, fueled by almost fetishistic fixations — that Scorsese has explored in past films such as Mean Streets 1973Taxi Driver 1976Raging Bull 1980The King of Comedy 1983 and especially GoodFellas 1990.
Casino also encores a few stylistic techniques that were used to great effect in GoodFellas, such as freeze-frames, flashbacks, extremely rapid dolly moves and expansive voice-overs by various characters.
While Scorsese concedes that his new film bears a superficial resemblance to some of his past pictures, he maintains that Casino is a tale with considerably greater scope.
When you have the same writers, the same actors, and similar themes, you're quite naturally going to have some parallels in style.
Because this film covers a number of years, we used the voice-over narration to carry the viewer through, and there are also a lot of quick cuts in many scenes.
But this film is different than GoodFellas because we have a much larger canvas casino camera operator time: it's America, it's Vegas, it's the mob out West!
There are over 289 scenes, so it's a much bigger picture than my previous films.
From what I've seen, I'm happy with what we've achieved.
this web page shoot anamorphic with a zoom was impossible at the lighting levels I wanted to work at — from T2.
I also wanted to shoot Kodak's 5393 or 5248 whenever I possibly could because of the blow-up process.
In addition, he carried 11:1 and 3:1 zooms.
The 4:1 was really our workhorse lens; a good three-quarters of the film was shot with that zoom.
Once I started it as a primary lens, I preferred to stay in its quality range.
When you start off with something, it's wise to stay with it, because the limitations or strengths of the lens you're using become relative throughout the picture.
I prefer to stay away from anything that would help you see the difference between lenses unless it's deliberate.
The light is very steep.
I was hoping to use backlight as much as we could and then cover the characters for the remainder of the sequences.
But by the time we got into this sequence with Bob and Joe, I realized that Martin wanted to cover both actors simultaneously to catch the improvisation.
So we went with hard, direct light instead — backlight on Joe casino camera operator and hard casino camera operator light on Bob.
The result was a far more saturated visual look, pulling and using the blues of the desert skin strong contrast to the almost white, dry-lake feel of the landscape.
Camera Operator (Episode 93)
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