Felix Kurniawan
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PRIVATE (2017), Cinematographer DAN AX, Directed by BRYN CHAINEY, Colorist MATT FEZZ, Alexa Mini 4:3, Cooke Anamorphics #DigitalFilmSchool

PRIVATE (2017), Cinematographer DAN AX, Directed by BRYN CHAINEY, Colorist MATT FEZZ, Alexa Mini 4:3, Cooke Anamorphics #DigitalFilmSchool

Stranger Things / Greens (2016-present), d. The Duffer Brothers, d.p. Tim Ives

In "Stranger Things", the show uses the same turquoise/greenish blue light when they're in danger or it's a scene where you aren't supposed to know what's going on. It's a bright color to catch ur attention from the dark background.

THOMSTON - FLOAT, Cinematographer DAN AX, Directed by JASON BOCK, Colorist DAVID MCLAREN #cinematography Descubra 25 Filmes que Mudaram a História do Cinema no E-Book Gratuito em http://mundodecinema.com/melhores-filmes-cinema/

THOMSTON - FLOAT, Cinematographer DAN AX, Directed by JASON BOCK, Colorist DAVID MCLAREN #cinematography Descubra 25 Filmes que Mudaram a História do Cinema no E-Book Gratuito em http://mundodecinema.com/melhores-filmes-cinema/

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Love the cinematography. Nice grade & frame for daylight in shot Like the murky but slightly warm daylight in shots 4 Like the frame in shot with the wall taking alot of space on the left. Lighting great in shot [Red Riding 1974 DoP: Rob Hardy]

juste la fin du monde xavier dolan léa seydoux #FilmSchoolsReview #DigitalFilmSchool

juste la fin du monde xavier dolan léa seydoux #FilmSchoolsReview #DigitalFilmSchool

“Nearly every shot is framed, refracted, bisected. Mrs. Chan and Mr. Chow are distanced from themselves, each other, us. But the camera is still active, hanging back in realistic remove before tracking and panning in languorous slow motion. Two different cinematographers are at work—Christopher Doyle and longtime Hou Hsiao-hsien DP Mark Ling Ping-bin—but their styles play as two sides of the same dream. All of the images burn, then all too quickly expire.” Eric Hynes, Reverse Shot

'In the Mood for Love' (Wong Kar Wai, Cinematography by Christopher Doyle