Evolution of L.A. 's headshot in magic hour

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR”

written by Barbara Kowalska

how pictures fabricate the ‘spirit of place’. On seductive power of color images, on hyper-reality, and selling invented aural experience

0007360134 MA Architecture 2015 school of architecture and landscape university of greenwich arct 1060: architectural thesis unitsixteen

ACKNOWLEDGEMENTS I wish to express my deepest appreciation and thanks to my supervisors, Simon Herron & Luke Olsen, for an engaging tuition, patience, inspiration and encouragement through this critical time. Your support and advice throughout the studies, without limiting my creative freedom in pursuing the subject, have been priceless. My gratitude also goes to those who supported me in various ways through the course of this project: Mark Garcia and Shaun Murray,PhD, and the other members of Thesis teaching body - for enthusiasm, intellectual challenging and exposing new avenues of thinking and creative development; Jeremy Pollard - for extreme generosity in sharing his expert insider knowledge, experience and tricks of the trade- as well as the precious unique anecdotes. It was such a pleasure to be able to witness his unwavering passion for working with cameras, and a true testament to what a vocation is; Janice Amaral - who made reaching Angeleño ‘consultees’ possible and kindly shared her beautiful photographic work for use in this piece; Amrita Dhaliwal - for imparting her L.A. insight and accommodating my inquiries and requests. Her kindness and patience in acting as my ‘(wo)man on the ground’ was invaluable in validating my hypothesis and obtaining industry-related practical information; Sam Dobson - for donating his time to shed light onto the secrets of videography and post-production.

TRAILER abstract [11]

califronia dreamin’

ESTABLISHING SHOT hypothesis [15] rms package [19] [21] [23] [25] [27] [29] [31] [33] [39] [41] [45] [49]

spirit of The Big Orange the pitch, contracts & forms background drivers & interests thematic map of inspiration role of practitioner & positioning thematic mind map of inspiration reading structure output design narrative rms proper impact central argument

PLOT the characters [51] [55] [57] [59] [67] [69] lead character bio [71] the antagonist [73] Hollywood’s L.A. [75] characters’ ancestry [80] [83] [101] [117]

definitions Meet Magic Hour(s)! the crew optics HPS spec spectrum comparison light evolution LED spec head shot filmography case studies precedents evidence

CLIMAX the character’s dynamic [123]

before vs. after

RESOLUTION what if... [127] [129 [133] flashforward [135] sequel concepts [139] [141]

anti-thesis plot synopsis & commentary production appraisal speculation distribution venue & designing TM closing credits

CLOSING CREDITS visual [142] [143] textual [146]

audio [150]

motion pictures still pictures websites articles books web documents etc. podcasts

CUTTING ROOM FLOOR Appendix Appendix Appendix Appendix Appendix Appendix

#1 #2 #3 #4 #5 #6

RMS v.01 L.A. filmography @ communication feedback on LED in the city specs & white papers Misc

PRODUCTION/ DISTRIBUTION written by art direction production

distribution

barbara kowalska 0007360134 simon herron luke olsen MA Architecture 2015 arct 1060: architectural thesis unitsixteen school of architecture and landscape university of greenwich

9. VIEWING SETUP PROCEDURE 1. visits: http://www.golden-hour.com/ http://www.b-roll.net/goldenhour/generate.php to check your location’s today’s timing of golden hour commencement and conclusion or download Golden Hour calculator app from http:// www.photopills.com/ - this is your time-frame for reading this script,; 2. settle by a West-aspect window, unobstructed by any window dressings- this step must not be omitted as the magic oh the golden hour brings these pages to life and affords the immersive experience; 3.

flip the page- the show begins! ...FADE IN

CALIFORNIA DREAMIN’

FIG.1: LOOKI NG BACK AT LOS ANGELES TH ROUGH’ TH E EYE OF TH E CAM ERA. TH E HOLLYWOODLAN D SIGN, WH EN CONSTRUCTED I N 1923, PROCLAIM ED WAS BOTH AN ADVERTISEM ENT OF A PRODUCT (A SPECU LATIVE REAL ESTATE DEVELOPM ENT) AS W ELL AS A PRODUCT ITSELF. IT HAS COM E TO BE A SIGN IFIER OF TH E CITY. TH TIM E TH E RELATIONSHIP OF TH E TWO REVERSED: L.A. NO LONGER DEFI N ED HOLLYWOOD- TH E SIGN DEFI N ES TH E CITY.

13. WILSON: (looking at view) Wow! […] Wilson: What are we standing on? ED: Trust?

(Limey, 1999) ‘HOLLYWOODLAND’ is no more. ‘HOLLYWOOD’ stands strong though, rising above the smog, above matrix of red, white and blue twinkling points across the universe of Los Angeles proper. There are two characters in this play. One, ‘born’ in 1907 through the pains of the East Coast producers relocating to the Golden State to take advantage of year-round warm and dry climate, facilitating extended filming periods (Balkind, 2012, p.26). The other has assumed the Supporting Role- it inspires, hosts, feeds, entertains, nourishes and takes the brunt of anger inflamed by the Main character. Thom Andersen, the writer and director of Los Angeles Plays Itself (2003) aptly summarized disjunction between two identities of the City of Dreams suggesting that “privileged observers “in the industry” make the city we see in the movies” . Being an Angeleño himself, Andersen rarely recognizes the city he knows, as depicted by Hollywood. The studios became a brand synonymous with California, and both the State and the County use this as marketing platform (Smith & Company, Mergil Carson, 2007, p.10). This is especially the case for the foreigners (Smith & Company, 2007, pp. 16,23,42), who form and sustain stereotypes and notions about Los Angeles based on the in,formation most easily assimilated- the still and moving image disseminated through popular culture. Actors secure roles using ‘head-shots’- descriptive portraits of their facial expression capabilities. L.A.’s head shot is continuously changing. Since its first feature length portrayal in 1913 ( Discover Los Angeles 20151) it has undergone remarkable transformation: from a dramatic chiaroscuro emphasizing black & white, through sepia and seductive Technicolor, to 4K quality of clarity and depth. Urban lighting technology made possible onlocation shooting and has played a pivotal role in generating “a spirit of place”. (Bell, 2009) “The very same idea that light and truth go together, it turns out that a great deal of what light gives us is an illusion” (Light, The Universe and Everything, 2004). With the largest urban street lighting retrofit project in the world completed in 2012 ( USA. Office of the Mayor of City of Los Angeles, 2012), Los Angeles lost its trademark golden glow blanket engulfing the streets from dawn to dusk. High Pressure Sodium lamps have been replaced by LEDs, bringing an end to the morning and evening golden hour’s extension into the night by its fabricated counterpart. Aural experience of Los Angeles after dark is now that of a High Definition film. And Hollywood is all about conveying the ambiance, about imagineering, about seducing our senses. Long-term impact of the latest light signature on the industry remains to be seen. In the meantime, the ephemeral ‘rolling’ mega stage of Los(t) Angeles is as always hosting multiple productions.

SPIRIT OF THE BIG ORANGE

17. JAMES TURRELL: “It’s not the bearer of revelation- it IS the revelation” Julius Shulman’s iconic photograph of the Stahl House (case Study House #22) was the springboard for the project- how reality can be transformed into hyper-reality by means of (analogue, or nowadays digital) montage- as defined by Eisenstein (Eisenstein, 1970), especially when it comes to portraying a city. My hypothesis is that still and motion image of a city, has a decisive role in forming ‘the spirit of the place’(Bell, 2009) and light signature of the metropolis is a pivotal factor in this process. By altering CRI, lux and color temperature of a light vessel city fabric reveals its alter ego.

FIG.2: BACKGROU N D LAYER OF SH U LMAN’S MONTAGE PHOTOGRAPH OF CASE STUDY HOUSE #22 (STAHL HOUSE)- FOCUSI NG ON TH E VIEW

THE PITCH, CONTRACTS & FORMS

IO N ECT J O P R I NG GIC TO T ATE AB UT IENTS D R T 3 O P S I A T C : N R O .3 FIG IGHT O ED PE E I NT ECT P J S L A B U H O A OF 2D S I NG LS C WAL L’ TH E FLOAT L GLY IGHT. X ‘PU MI N L SEE TI N G T EMI

FIG. 4: PU RKI NJ E SHIFT OF THAM ESM EAD’S MODERN IST HIGH-RISE RESIDENCIES. WITH PLUMM ETI NG ILLUMI NATION LEVELS H UMAN EYE U N DERGOES DRAMATIC CHANGE I N TH E WAY IT I NTERCEPTS LIGHT WAVES AN D HOW TH ESE ARE TRANSLATED I NTO VISION. WITH TH E TRANSITION FROM PHOTOPIC TO SCOTOPIC VISION LARGELY MONOCH ROMATIC RODS TAKE OVER FROM ‘TECHN ICOLOR’ WIRED CON ES WHICH EFFECTS I N DECREASED DISCRIMI NATION BETW EEN COLORS (ESPECIALLY RED AN D GREEN). OUT VISUAL RECEPTORS TARGET RECOGN ITION OF FORM OVER COLOR AS TH E PRIMARY TASK. AUTHOR’S OW N

21. BACKGROUND DRIVERS AND INTERESTS. E.O. WILSON: “...Dreaming is a kind of insanity, a rush of visions, largely unconnected to reality, emotioncharged and symbol-drenched, arbitrary in context, and potentially infinite in reality” (Fletcher, 2001)

Learned logic, knowledge and past experiences are some ingredients forming human perception, of which manipulation has a profound implication within socio-architectural context. It conditions our reading of the surrounding scape and situations. This dynamic has been widely explored and documented, as well as deployed for a wide range of purposes- ranging from providing amusement to amassing financial gain. Light and Space artists in creating light tromp-lœil pieces or otherwise forcing viewers to suspend logic to rethink familiar situations as testified by Robert Irwin himself when speaking of effects of his anechoic chamber tests (Butterfield, 1993). Similarly, Turrell’s Afrum, Ponzo and Parallax optical illusions all deceive our vision, while Purkinje Shift (Wikipedia, 2014) defines a physiological transition in the way we see. Since “associations with color are emotive, irrational and deepseated” (Fletcher, 2001, p.55), color becomes a signifier of emotion. However, the signified is wildly varied. In its context, specificity and dependency it is reminiscent of Doppler Effect: perception of an object is directly related to subject’s positioning in relation to it- “the subject and the object carry and exchange information and energy” (Somol & Whiting, 2002). What does apparently remain constant is that population as a group, falls under the mystical spell of light during the golden hour. It transpires that under the ‘gilded’ firmament the world seems a better place and utopia is at an arm’s length. It also invokes memories of ‘the good old days’, as in The Single Man (2009) or Days of Heaven (1978). H E WORLD

ACE [...] T OF THIS SP UMBER CAM E OUT U DID FOR A N O D Y AN EN ... H T “W EN R LY FE AL IF IC D LOO K O KED RAD REALLY DID DS; [...] IT LO GER SENSE AR N W RO ER T ST H AF C A OF HOU RS A M UCH M U OVEM ENT, (SIC). IT HAD SENSE OF M G ER N G I DIFFERENT N H T RO O N ST ES. NOW A M UCH OF COLOR, OF TEXTU R IT WAS J UST N GER SENSE E, RO ER ST H H T C T U U M O E G AN H C (SIC) LD (1993) ACTUALLY LY” BUTTERFIE DIFFERENT PERCEIVED

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fig. 5: THEMATIC MIND MAP OF THE PROJECT’S INSPIRATION

GANZFELDS: PU RPLE SEQU ENCE OF BREATHI NG LIGHT I NSTALLATION BY JAM ES TU RRELL (FIG.6) & GOLDEN ENGU LFI NG ATMOSPH ERE OF RETI NAL BLEACH I N DI N BLI N DE PASSAGER, BY OLAFU R ELIASSON (FIG.7)

FIG. 8: PHILLIP RAHM

ARCHITECTS: TAICH U NG JADE M ETEO PARK, TAIWAN

25. ROLE OF PRACTITIONER/ RESEARCH POSITION WITHIN PRACTICE. Increasingly, current discourse within architecture and related disciples, is fascinated with the possibilities of technology on human psyche and, perhaps in response to over-saturation of culture with materialistic visions, designers refocus on prospects of spatial design beyond the tangible. The ephemeral qualities of light, intrinsically associated with emotional responses, have a long standing tradition. Jade Meteo Park (due for completion in 2015), Turrell’s Ganzfelds and Eliasson’s The Weather Project all explore apparently unlimited potential for engineering meteorological Arcadias. It is yet too soon to declare whether these environments perform in long-term but the hopes are high. They have, however, been ‘tested’ time and time again in virtual reality of Hollywood- and the outcomes are as varied as those who conjured them up. Hollywood’s success in promoting its host city is confirmed by volumes of publications (on paper, on celluloid and on solid state mediums) attempting to summarize its portrayal- Los Angeles. Portrait of a City (Heimann, 2013), World Film Locations. Los Angeles. (Solomons, 2012), Hollywood Cinema and the Real Los Angeles (Shiel, 2012), Los Angeles Plays Itself (Andersen, 2004)- to just name a few. So far, there seems to be lack of study into effects of exposure to Golden Hour in terms of architectural perception, which is what is going to be explored in subsequent development of the project.

FIG.15: THESIS PIPELINE FOLLOWS PARADIGMS OF MEDIA PRODUCTION PROCESS & EISENSTEIN’S PRINCIPLE ‘IDEA TO EXPERIENCE’

FIG.9: ADAPTATION OF FREYTAG’S

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PYRAMID FOR ‘EVOLUTION OF L.A.’S H EADSHOT...’

ESTABLISHI NG SHOT

PLOT

RESOLUTION

hypothesis

thesis & anti-thesis

design project + background drivers

ev

id

setup

is

nalys

nce a

evide

confrontation

conclusion

en

ce

sy

nt

he

sis

resolution

READING Exploration of the storyline depicted on the ensuing pages, aligns itself with Freytag’s pyramid ( Wikipedia, 2015). The ‘pyramid’ is a paradigm of dramatic work (film) and comprises of three main acts, demarcated by key turning points along the research journey . Set-up positions subject of the study within wider context and consists of abstract (trailer), introduction (establishing shot). Confrontation is where the plot unravels, and the world of golden & sodium hour are introduced and followed by mapping of cinematographic and technological evolution. Case study films and ‘spot the difference’ exercise of preand post-LED retrofit on L.A.’s streets form key section of the evidence. Initial wide review of the city’s filmography identified technologies and equipment used. Synthesis of findings, identified correlation and dependencies/ consequences amount to the climax point, as are difference and similarities between the anticipated and the or experienced City of Angels. Resolution includes discussion on future of LA and film industry in the city following the switch and

wider changing conditions. Additionally, form of presenting this work and further its development can be found in this chapter too.

FIG. 10: POW ERS OF TEN (1977) EAM ES, R. & CH.

REDISCOVERI NG EXTRAORDI NARY PERSPECTIVE OF ORDI NARY, DAY-TO-DAY SU RROU N DI NGS.

FIG.11: BLOW U P (1966) ANTON I N I, M. PHOTOGRAPH ER’S SU RPRISE DISCOVERY OF AN ILLICIT ACT CAUGHT ON FILM. TH E DEVIL’S I N TH E DETAIL.

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STRUCTURE With Thamesmead, UK as a springboard, the study’s focus travels across the ‘big pond’ where it deploys Blow (1966) and Powers of Ten (1977) tactics. The study zooms-in on the subject matter from long-shot perspective (capturing the city’s glow) to close-up investigation of the source of the glow.

COLLATERAL

written by Stuart Beattie

33.

revised draft by Frank Darabont 9/12/00 current revisions by Michael Mann 8/24/03 COLLATERAL

FOR EDUCATIONAL PURPOSES ONLY

COLOR-CODED SU BSEQU ENT REVISIONS

TWO BRASS BRADS I N DICATE SPECU LATIVE SCRIPT (FOR EASE AN D TIM E-SAVI NG OF DISASSEMBLI NG AN D PHOTOCOPYI NG) TH REE-HOLE PU NCH ED ON BASIC FLY PAGE

OUTPUT DESIGN In this study partial representations of reality, which when compounded form a scene (Eisenstein, 1970), are analyzed in graphic form. Production of a motion picture is a complex business and mostly lacking set templates for recording and archiving information (Pollard, 2015). Effectively, this compilation inspired by various components of pre-production processes becomes a summary of key information required for reconstruction of filmic L.A.’s spirit in the ephemeral golden hours. Screenplay script, reference inspiration and ‘hero’ (head) shots, minuted agreements from strategic meetings of creative departments’ heads (director, cinematographer, costume, set design, lighting designer, DoP, post-production- especially colorists and graders), specification sheets for internal circulation and mood board excerpts can all be found within this file (Pollard, 2015; Goi 2014). Formal design mediates between borrowed from industry standard screenplay script formatting and largely assumed (since

MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM MM

revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs. revs.

8/28/03 8/28/03 9/01/03 9/02/03 9/03/03 9/08/03 9/10/03 9/14/03 9/16/03 9/18/03 9/21/03 9/22/03 9/24/03 9/26/03 9/27/03 9/29/03 8/28/03 9/30/03 8/28/03 10/02/03 9/01/03 10/04/03 9/02/03 10/06/03 9/03/03 10/09/03 9/08/03 10/10/03 9/10/03 10/11/03 9/14/03 10/12/03 9/16/03 9/18/03 9/21/03 9/22/03 9/24/03 9/26/03 9/27/03 9/29/03 9/30/03 10/02/03 10/04/03 10/06/03 10/09/03 10/10/03 10/11/03 10/12/03

written by Stuart Beattie revised draft by Frank Darabont 9/12/00 current revisions by Michael Mann 8/24/03

(blue) (pink) FIXED-PITCH (yellow) (green) COU RIER 10 FOR EDUCATIONAL PURPOSES (goldenrod) TYPEFACE (buff) (salmon) (cherry) (tan) (blue) (pink) (yellow) (green) (goldenrod) (buff) (salmon) (blue) SI NGLE(cherry) (pink) (tan) SIDED (yellow) (blue) (green) PRI NT (pink) (goldenrod) (yellow) (buff) (green) (salmon) (goldenrod) (cherry) (buff) (tan) FIG.12 (blue) (pink) (yellow) (green) (goldenrod) (buff) (salmon) (cherry) (tan) (blue) (pink) (yellow) (green) (goldenrod) (buff)

such document could have not been neither located, nor its existence confirmed) preproduction manual document.

The latter demonstrates complexity of production planning, management and multifold nature of ‘tool-kit’ requiring specification for the production to run smoothly. Both documents are prescriptive in the sense that they direct actions and describe actions taking place on the script’s pages. There is activity both within and outside of the documents, which must be brought together to form a cohesive (but not exhaustive) source of information (changes to the script and its implementation are in constant flux on set, as confirmed by Jeremy Pollard and various other sources researched during the course of the study). Screenplay formatting follows long-established practices which are somewhat dictatorial- down to line-location of particular text section. Any deviations, or attempts at making the document stand out are frowned upon (Ray Brown, 2014; Simply Scripts 2014). The sole change is digital- as opposed to analogdissemination of the piece. The cast is forced to print a copy

ONLY

35.

themselves for mark-ups and rehearsals (it is fair to assume that this will soon change too, and actors will be seen bearing tablets rather than paper) (Dhaliwal 2015). To avoid imposing the author’s personal preferences on the primary audience of the academic body, hard-copies of ‘Evolution of L.A....’ will be submitted. N.B. Faithful reproduction of original hand-drawings has been limited by scanning technology abilities- especially of the mood board sequence which was originally created on bumwad with metallic gel pens, which convey intensity and luminosity of HPS light.

Paper Stock Section Coding

script revs. 00 (blue)

script revs. 01 (double white)

spec sheets (pink)

mood board/ key frames (yellow)

research/appendix (green)

hero shots / inspiration (buff)

... (goldenrod)

Format Coding

‘scene’ overview guide (left to right: previous-current-next)

editorial notes/ director’s notes

Production-generated information. Single-sided print. line 7

ACTION 1.5”

1-1.5” (12.7-25.4 mm)

line 25 centered ALL CAPS in “...”

CHARACTER CODE 4.2“ PARENTHETICAL 3.6”

“TITLE”

DIALOGUE 2.9”

written by Name

4 blank lines 1 blank line

1” (25.4 mm)

Typeface & pitch: varied (external information)

Typeface & pitch: varied (creative interpretation of screenplay standards)

Typeface & pitch: compatible with industry standards (Courier Standard 10pt)

1,5” (38.1mm)

A3

‘add-ons’/ ‘plug-in’ external information`

A4 (non- script)

A4 (script)

3 lines

1-1.5” (12.7-25.4 mm)

contact information

fig. 13: DOCUMENT FORMATTING KEY

FIG. 14: COLLATERAL (2004) MAN N, M.- SCREENPLAY

EXCERPTS REPRESENTI NG VARIETY OF NARRATIVES 9/18/03 MM revs. (blue)

1.

A1

FADE IN: A1

INT. BRADLEY TERMINAL - BLURS - DAY

CONTINUED:

A1

OVERHEAD SHOT:

slide past in a 400mm lens. Then, entering a plane of focus is VINCENT. He walks towards us...an arriving passenger. Suit. Shirt. No tie. Sunglasses and expensive briefcase say "confident executive traveler." The suit's custom-made but not domestic. His hair and shades are current, but it would be difficult to describe his identifying specifics...grey suit, 1 * white shirt, medium height. And that's the idea... * CLOSE BEHIND VINCENT OVER his left shoulder, walking through milling travelers towards the distant wall of metal and glass, sunlight streaming at him...

*

- suit, blonde crew cut - walks to camera. Same sunlight, but it hits him from the side. His trajectory is from the left. His eyeline is slightly right. Just now, he looks down at a ticket in his hand...

And the two men bump

TWO-SHOT... You okay?

VINCENT Sorry...

2

with the North London working-class accent. And continues towards the exit. Was it an accident? Was it a brush pass? The Man's accent signified nothing to us except one thing: foreign origin. VINCENT approaches until he's in ECU... (CONTINUED)

NARRATIVE Pursuing further cinematographic industry, the textual content utilizes screenplay’s alternating person narrative- according to nature of issue under analysis and available knowledge/ evidence. First-person approach is used where my personal views and opinions weigh more heavily on formulation or explanation of a particular section. These are biased motions, but due to reception and perception of reality being intrinsically a personal matter, I believe this outlook is a well-suited one. These section are indicated by highlighter color C=22, M=40, Y=100, K=2 C=94, M=86, Y=39, K35 highlighter has been assigned to sections distilling content and/or argument of this study. Instances where objective view is called for (e.g. reporting third-party findings),third-person limited takes precedent. The author acknowledges that despite considerable knowledge on the subject, the unknowns are not known. Consequently, it has been accepted at the outset, that evidence analysis- and therefore conclusions- may require future

1

Images wipe across the screen, kinetic and abstract, floating and dreamlike in SLO-MO: Shades of yellow.

Ribbons of silver.

Shimmers of chrome.

Racing Forms. A Farsi newspaper. African hands on a Blackberry. Max's hands do The New York Times crossword. A West African speaks French into a cell phone. Metallica in a headset. Hip-hop, Norteno...

* * * *

Mechanics hands change tires, replace air cleaners, close a hood.

* *

INT. ONE CAB - MAX'S HANDS *

VINCENT GRABS THE BRIEFCASE OF THE MAN

CREDIT SEQUENCE:

2

ORANGE and YELLOW FORD CROWN VICTORIAS are wiping screen. We find ourselves in a busy garage at change of shift. A balletic convergence of arriving and departing cars. One's door's flung open... 3

Enjoy

VINCENT

up from the bottom of the frame, departs across the floor with the yellow tile, until we lose him into the milling hundreds of Angelenos, heading out into Greater LA and its eighteen million people.

INT. TAXI DISPATCH - L.A. - DAY

The man has a similar

MAN (North London workingclass accent) Yeah, yeah, I'm fine, mate. LA...

A1

SOUNDS are dreamlike and abstract, reverberated and discordant, bouncing off concrete walls: car doors OPENING and CLOSING. Brakes. A BABBLE of multi-lingual crosstalk.

OVER VINCENT'S LEFT SHOULDER...

Vincent puts down his briefcase. briefcase.

1A.

Headlights sweeping past, flaring to white. Brake lights flashing, halating red. Reflections of overhead fluorescence flowing like liquid along windshield glass...

ANOTHER BUSINESSMAN

right now something catches Vincent's eye. into each other...

39.

10/6/03 MM revs. (pink)

* *

3

enter. They wipe the seats with paper towels and 409...a DMV LICENSE fitted into the small Lexan holder. On it is a picture of Max. Lights being checked. Indicators. Hazards. Switches. Similar to a pilot doing an aircraft check list. Fast. All fine. REVEAL NOW:

MAX'S BRIEFCASE

*

He opens it, preparing for his workday. CD caddy of personal mixes goes on a visor. Spreadsheet peaks out a worn Mercedes S500 brochure, clipped open. A submarine sandwich from Subway.

* * *

(CONTINUED)

review, in light of new evidence. This form is also appropriated in cases where a prescriptive/ authoritarian voice serves as director’s notes on set design or actors’ performance. As per screenplay’s prescription, all end-of sentence are followed by double space. Similarly, all colons (Ray Brown 2014).

FIG. 16: ‘PHAEDO’ PERCEPTION DIAGRAM OU R PERCEPTION IS A COLLAGE OF PHYSIOLOGICAL AN D PSYCHOLOGICAL REACTIONS CON DITION ED BY M ECHAN ICAL, TANGIBLE FACTORS AS W ELL AS THOSE EPH EM ERAL. (AFTER JAM ES TU RRELL’S PHAEDO I NSTALLATION EXPLORI NG I NTERDEPEN DENCIES BETW EEN SPACES)

FIG. 17: STORYBOARD THAM ESM EAD FAILED MIDCENTU RY ‘TO BE’ UTOPIA (TECHN ICOLOR VISION => N EONOIR GOTHAM ESQU E VIEW OF REALIZED VISION)

41. “There’s something that these in the advertising would call ‘The California vibe’. It brings a sense of space, sunshine and energy to any brand whose spot is shot in the golden state” (Lincoln, D. 2014)

By the virtue of being phototropic creatures, people are conditioned to be drawn to it. Humanity has been fascinated by metaphysical, mysterious, enigmatic and seductive qualities of light. Scientists have been on a quest to comprehend it and be able to manipulate it, to harness its powerful effects in various strata of human behavior and nature. Historically, light represented the holy, the truth, the mystery (Light, The Universe and Everything, 2004). Over the centuries the light has been substantially unraveled and commodified, and is now a major entertainment and deception tool. Human responses to light are physiologically, psychologically and culturally complex [fig,16] . On human scale, perception of light stimuli can be only partially brought into the “realm of reason” (ibid.); in astronomical dimension, sunlight is understood quantitatively. This paper is a continuation of my last year’s design project dealing with notion of ‘pastness’, as discussed by Fredric Jameson (1991) in the context of the Disney Empire and mid-century California. It is also a commentary on an ongoing design project investigating possibility of employing American boosterism principles and real estate celebration of ‘the view’ onto a fabric of decaying would-be utopian development of Thamesmead, UK [fig,17]. Illumination is a spellbinding subject, covered by an overwhelmingly vast knowledge-base. To conform to limitations of this thesis work, the subject focus is on impact of light on rendition of a city. The city: Los Angeles, Golden State of California, USA. The light: golden hour. This most photographed city appears to be known insideout by everyone. In his cinematographic essay Los Angeles Plays itself (2003), Andersen showcased over a hundred different works filmed in and portraying the city. It is difficult to make a direct comparison between the ‘faces’ L.A. presented to world in this work, due to the broad spectrum of aspects discussed. It also does not mention daylight in any way, in terms of its impact on the city’s portrayal, which is peculiar as sunshine is one of the city’s icons ( Smith & Company, Mering Carson, 3007, p.9). It is specifically the golden hour light which is most potent in conveying the ‘L.A. vibe’it produces golden glow engulfing everyone and everything, with soft long shadows sharpness of tectonic edges blurs away, utopia feels only a step away. Strength of conveying such notions has not gone unnoticed by the cinematography, to which Days of Heaven (1978)and A Single Man (2009) are a testament. My decision to augment the analysis by addition of ‘sodium hour’ study, was taken in view of it being treated as man-made extension of the natural phenomenon. Features such as Collateral (2004), Drive (2011) and The Bling Ring (2013) captured night-time L.A. in its nocturnal alter-ego. These films provide a glimpse into transforming character of urban lighting. The study targets implications of evolving urban lighting technology on changing ‘face’ of urban stage called Los Angeles. Furthermore, its role and its manipulation will be investigated in depicting the city, creating specific per-conceptions and expectations. Concepts of color image (still and moving) seduction, construction of hyper-reality and ‘simulacrum’, Doppler effect (Somol, Whiting, 2002) will be discussed in relation to City of Dreams and characteristic light it benefits from.

FIG. 18

“TH ERE’S ALSO AN APPRECIATION BY TH E L.A. AUTHORITIES AN D TH E COMM U N ITY OF TH E IM PORTANCE OF TH E FILM I N DUSTRY TO TH E REGION. [...] L.A.’S TRANSPORTATION DEPARTM ENT CHANGED TH E PAI NT ON ITS BIKE LAN ES BECAUSE TH E EXISTI NG PAI NT WAS HIGHLY REFLECTIVE AN D COU LDN’T BE DIGITALLY REMOVED DU RI NG POST. NOT MANY CITY AUTHORITIES WOU LD LISTEN TO THAT KI N D OF ARGUM ENT,” FRY, A. (2014) P.23.

43.

My role as the researcher was that of an observer (of others and of myself) and of the generator of the hypothesis’ validating means. Reflecting nature of the inquiry’s pluralist methodology was applied to facilitate syntax and analysis of inter-disciplinary links and implications. Because of the emphasis on the crucial role of visual receptors, the study is mainly visually-based, incorporating study of both static and motion images. Review of L.A.’s filmography (Appendix 3) identified case studies which will be discussed in more detail in terms of lighting conditions captured and how these influence percipients. Primary desktop research focused on establishing context and breadth of the field study. It included technological evolution of urban lighting, physiological response to light and nature of sunlight. Media Production professional experienced (Dobson, 2015) in filming and post-production as well as a Cinematographer (Pollard, 2015) have kindly made their expertise available. These conversations were conducted in open-question manner, to allow for a dynamic exchange of views and gaining deeper insight into these complex areas. California Tourism & Travel Commission and Discover Los Angeles databases proved useful in terms of consulting market research information, which served as verification of emotional responserelated assumptions posed by the hypothesis. These bodies, along with Bureau of Street Lighting, FilmL.A. (Los Angeles branch of Film Commission) and production companies involved in the case study films, have been contacted to obtain the latest unpublished and historical data which could reveal how the new LED street lighting infrastructure affected the film industry and the Angeleños. A number of studios have been contacted to further understanding of their reasons for choosing to stay in the city in light more economically attractive shooting locations are available (Appendix 3). Questions put to them aimed at unearthing potential links between the light(ing) conditions investigated in this paper, as well as whether their input was sought from Los Angeles’ authorities, who in the past has shown significant courtesy in accommodating their needs(Fry, 2014). Personal observations from site visit were also included, on the basis of the study dealing with juxtaposing the ‘imagined’ and the experienced city. However, as my visit to the city was brief a native and an ‘adopted’ residents were asked for their views on the golden/sodium hour qualities and how the new lamps (if at all) affected them. Technical and theoretical literature provided principal grasp of equipment and techniques used in cinematography, image they produce and how these have changed. The aim of this paper is to record, and in a way, to preserve Los Angeles as it will never be again. To capture its last truly ‘golden’ incarnation (HPS lamp will never be used again and their effect is deemed undesirable, as there is distinct preference for clarity and depth of field facilitated by LED). Additionally, for personal professional benefit, the investigation strives for an in-depth understanding of influence of light over the way we perceive reality, what constitutes reality and what conditions responses to architectural form and spatiality and distinct lighting conditions. In particular, the development/ provision of golden hour nostalgic ambiance in conception of “Mitchum” architecture- architecture which is “about mood or the inhabitation of alternative realities” (Somol, Whiting, 2002). This study is also aimed at contributing to the knowledge base on manipulating expectations (generated by the movies), and on reconsidering light as a tool of deception and illusion- and not a revelation. Ultimately, desired outcome of the study is a construction of a device providing temporal experience of Los Angeles in line with urban lighting evolution.

45. IMPACT. SUPERVISOR: (looking intensely at flickering on projection screen slides) What is the desired and designed impact of your thesis? ME: Forming archive of Los Angeles in ‘sodium hour’capturing distinctive golden incarnation of L.A.... the characteristic dusk/dawn streetscape, and the nocturnal extension of gilded City of Angels. Understanding of L.A. has changed, as urban experience,in light of the municipal illumination system overhaul- right down to the detail (light bulb) which drives and determines the city’s look. Moreover, tracking progress of depiction and dissemination of transformed identity, of which the ‘head-shot’ is a symbol. This mapping is to serve as reference point for analysis of Hollywood’s tools (lighting and partial representation) and its compelling influence in propagating the city as seen through camera lens. In turn, this provides basis for understanding the fascination, hopes, illusions and ‘familiarity’ with a distance place of “business called show”. Lastly, L.A. serves as a case study itself- on a mega scale- of light’s potential in transforming architectural form and spatiality, and this affects those interacting with it. This study follows a narrow-band focus, aiming to further a grasp of designers, as well as ordinary users of architecture, of emotional responses and attitudes towards illuminated (both through natural and artificial means) city fabric- and how these feelings can be (are) manipulated and fabricated. What this study is not advocating, is rationalizing all emotional experiences related to architectureexperienced directly (personal interaction) or indirectly (through cinematographic representation) as this has become an essential pattern for me, leading to degradation of entertainment value in both instances. Supervisor: Who, how and where will it impact? Me: It would be too ambitious, to the point of arrogance, to hope for the study’s global impact, but even if a small portion of English-speaking audience (as at this stage it is unlikely that the paper is going to be published and translated) can benefit from the following contents. I would consider it a tremendous personal success and a rewarding finale to the past months of intensive and extremely enjoyable discovery. The process has been demanding, yet a fascinating one- unearthing tricks of film trade and gaining understanding of significance and mechanics of eye as a gate to our perception. I sincerely hope for the readers to take pleasure in and gain new knowledge from re-tracing my steps.

47. Supervisor: How will these impacts be known or tested? Me: To address the question of testing pr monitoring fulfillment of the thesis’ impact, no such plans have been made as of yet, but further development of the hypothesis into an installation, discussed in the closing chapters, would present an opportunity for open discussion with a wider and varied audience, as well as for obtaining feedback which could assert or undermine presented presumptions, speculations and conclusions.

CENTRAL ARGUM ENT FRAM E

FIG.19: THESIS SCRIPT STORY BOARD

THE CHARACTERS

[ magic hour ] 1: photo golden ‘hour’natural phenomenon lasting from under an hour to 24 hours, effecting in Sun seemingly casting goldenhued light

[ h o u r ] (Dictionary.com, 2014)

[ sodium hour ]

[ golden hour ]

2: photo sodium ‘hour’artificial light effect lasting from dusk to dawn, when High Pressure Sodium street light illuminate streetscape

53. 1: a short or limited period of time 2: a particular or appointed time 3: a customary or unusual time 4: a period of time equal to one twenty-fourth of a mean solar or civil day

FIG.20: MAGIC HOUR DEFINITION

55. MEET THE MAGIC HOUR(S)! The Cast: Lead role:

L.A. (aka. cinematographic Los Angeles’ alter ego)

Support role:

Los Angeles proper, CA, USA

Lead role double #1:

Golden Hour- natural phenomenon

Lead role double #2: Hour

Sodium Hour- fabricated extension of Golden

Extras: Los Angeles architectural fabric and natural landscape

FIG. 21

FIG. 22

57. The Crew: DoP (Director of Photography)+ Location scout: production of ‘hero shots’/ head-shots of Los Angeles used in production used at pre-vis to sequence storyline and determine key shots Gaffer: lighting plan design for motion picture. The gaffer would specify particular light sources to achieve ‘the look’ and minimize workload on post team (especially Colorists and Telecine Colorists). Spec sheets for the designed-in lighting systems are included in this document for reference and potential future supplement orders by the Best Boy. Best Boy: sourcing light sources required for the ‘look’ agreed by Director and DoP. With continuous demand for HPS lamps on historical production sets, and those calling for the specific ambiance and spectral rendering produced by the vapor lamps (without the need for significant post costs), this product is bound to be widely available and supplied by dedicated film lighting shops. Lighting technician/ Stage dresser: implementation of DoP & Director’s instructions with materials arranged by Best Boy Colorist & Telecine colorist: adjust scenes’ color to achieve consistent look, in line with creative directions regarding ‘the look’

Executive Producer: creator of conditions enabling rendition of the (motion) picture. Sun,

HPS and LED light sources have been cast in this role for ‘Evolution of L.A....’ project. (Pollard, 2015; Durham university, 2006)

FIG. 23:GOLDEN HOUR OPTICS DIAGRAM

[ golden hour diagram]

5600°K [ noon light ]

F.A.O.: DOP, GAFFER, BEST BOY & COLORISTS

2100K COL. TEM P.- THIS IS TH E LOOK W E WANT! THIS SATU RATED GOLDEN CH ROMA PERFECTLY CONVEYS TH E ‘GOLDEN HOU R’ LOOK, AN D BY EXTENSION TH E AMBIANCE OF STEREOTYPICAL LOS ANGELES W E WANT TO EVOKE!

90°= dmin

MAKE IT HAPPEN!

3500°K

6°= d gh min

2500°K 2100°K [ HPS Philips 200W ]

-4°= d

34

°0

3’

N

gh max

118° 1

≈1h

2800°K [ incandescent light bulb ]

1800°K [ candle light]

5’W 12,000-20,000°K [ skylight ]

FIG. 24: MAGIC HOURS’ COLOR TEMPERATURE SPECTRUM

[ golden hour ] 1: med the first 60 minutes following a serious accident or injury, when emergency care is most critical 2: photo time of day after sunrise and before sunset, when sunlight casts a distinctly golden hue over surfaces.

Specification: • approx. 60min after sunrise/ before sunset, • Sun’s altitude -4°÷ 6°/ 6°÷ -4° • light colour temperature 1800°K ÷ 3500°K • increased Rayleigh scattering (due the to shallow angle, sun rays penetrating ticker layer of atmosphere) of shorter wavelengths (blue light, 475-510nm); consequently, Earth’s surface is reached predominantly by long wavelengths (red light, 570-650nm) • shadows appear longer and softer due to the scattering • softer shadows eliminate high contrast and cause surfaces and edges to appear blurred • effect dependent on location’s: :: longitude, latitude & altitude; :: season :: time of day (stage of golden hour’s progress) :: atmospheric conditions (cloud formations [cirrus/ altocumulus most advantageous], natural pollutants [pollen], man-generated pollutants [none or max. ø5μm ÷ ø1μm], humidity [no precipitation most beneficial]) • Colour Rendition Index: 100 (?) • human visual receptors switch from conedominated to rod-dominated (Purkinje shift from photopic to mesopic vision) • nostalgic/ utopian connotation provoked in human perception

FIG. 25: LEAD CHARACTER’S DOUBLE #1 CHARACTERISTICS [ photo by courtesy of Janice Amaral Dalton]

[ sodium hour ] 1: photo time of civil day shortly before dusk and shortly after dawn, when HPS street lights cast a distinctly golden hue over surfaces. Specification: • variable- 10 ÷ 14h • source altitude variable: approx. 3÷ 12m • light colour temperature 2100°K @ 200w • low scattering: atmospheric conditions-dependent • shadows appear longer and defined • relatively high contrast • effect dependent on location’s: :: season :: atmospheric conditions ( man-generated pollutants [none or max. ø5μm ÷ ø1μm], humidity [no precipitation most beneficial]) • low Colour Rendition Index: 21 • human vision rod-driven, with temporal cone activity (scotopic vision with transient mesopic episodes) • casts golden glow over city fabric

FIG. 26: LEAD CHARACTER’S DOUBLE #2 CHARACTERISTICS

ORIENTATION OF TH E BU LBS BEARS NO IM PACT ON ITS PERFORMANCE -> MI N IMIZI NG VARIATION I N TYPE OF LIGHT SOU RCE USED TH ROUGHOUT TH E CITY

GOLDEN-PI NK COLOR (‘WHITE’ VERSION EMITS 2600K-2800K)

WARM-U P: TH E LAM P OPERATES ON TH E PRI NCIPLE THAT SODIUM VAPOR BECOM E LUMI NOUS WH EN SU BJ ECTED TO HIGH PRESSU RE WITHI N TH E COM PACT ARC TU BE. STAN DARD HPS LAM P REQUIRES APPROX. 4MI N TO FU LLY WARM U P AN D ACHIEVE ITS TARGET LIGHT TEM PERATU RE- BEFORE THIS HAPPENS TH E BU LB EMANATES VARIOUS COLORS AN D LUMI NANCE LEVELS, DETERMI N ED BY CU RRENT PROPORTIONAL MAKE-U P OF VAPORISED GASES I N TH E ARC TU BE.

STRIKI NG : M ECHAN ICS OF TH E BU LB M EAN THAT I NSTANT MAXIM UM BRILLIANCE IS NOT POSSIBLE- TEM PERATU RE AD PRESSU RE WITHI N GAS COM PON ENTS BUILDS U P GRADUALLY; THIS DELAY MAKES TH E BU LB U NSUITABLE FOR APPLICATIONS I N CONJ U NCTION WITH PIR AN D WH ERE I NSTANTAN EOUS HIGH LEVEL OF LUMI NANCE IS N ECESSARY RE-STRIKE: TH E LAM P M UST COOL DOW N BEFORE IT IS RE-IGN ITED. I NSTALLI NG ;STAN D-BY’ LAM PS (I NCLUDE 2 LAM PS) OR BACK-U P HIGH-OUTPUT QUARTZ LAM PS CAN BE I NSTALLED TO SPAN TIM E BETW EEN TH E STRIKES.

67.

T N A

PHILIPS Ceramalux ALTO Ceramalux 200W Mog ED18 CL ALTO #368779

D N U

operating electrodes made of tungsten, transmit high-voltage, high-frequency pulse

D E R Standard High Pressure Sodium fitting to Los Angeles street lamp network.

compact arc tube: xenon+ mercury+ sodium amalgam outer bulb: protection from draft, water ingress, temp. changes and oxidation of internal components;may feature phosphor coating which acts as light diffuser

209,000 Cobrahead street lights, illuminating 5000 miles of streets. Progressively phased out since 2009.

electrical connection

HIGHT PRESSURE SODIUM LAMP: PRODUCT SPECIFICATION General characteristics: introduced: 1968 base: Mogul base material: brass bulb: ED18 bulb material: hard glass bulb finish: clear operating position: universal main application: general and street lighting rated avg. life: 24000hrs product family: High Intensity Discharge lamps Emitted Light details: Color Rendering Index: Color Temperature: Color Temp. technical: Initial Lumens: Design Mean Lumens: Luminous Efficacy:

bulb L: total L: ø:

5.75” 9.75” 2.25”

24Ra8 2100K 2050K 2300Lm 19260 Lm 115 Lm/W

Electrical Characteristics Watts: 200W Lamp voltage: 100V Lamp Current: 2.4A Ignition Time: 5(max)s Re-ignition Time: 1 (max)min Environmental Characteristics Mercury (Hg) Content: 31 (max)mg Product dims:

(Philips, 2014; USA. Bureau of Street Lighting.2013)

100

daylight

relative spectral power

120

69.

typical HPS sunlight + sunset skylight

FIG. 27: EXTEN DI NG GOLDEN HOU R I NTO

80

TH E N IGHT: NARROW SPECTRUM OF HPS PEAKS @ 550575NM FREQU ENCY (I.E. LONG YELLOW LIGHT WAVES). MAGIC HOU R LIGHT IS MORE U N IFORMLY DISTRIBUTED ACROSS YELLOW TO RED BAN DWIDTHS, PRODUCI NG TH E BREATHTAKI NG COLOR DISPLAYS ENJOYED BY TH E ANGELENOS. ABOVE CORRELATION CHART DEMONSTRATES TH E CAUSE OF TH E HPS’ I NFERIOR TO DAYLIGHT COLOR REN DERI NG I N DEX, LEADI NG TO POOR COLOR & MATERIAL ACCU RACY I N REN DITION OF CITY FABRIC.

60

40

20

wavelength (nm) 400

500

RELATIVE SPECTRAL POWER COMPARISON LED lamps’ much wider light band width than that of HPS bulbs, effects in greater depth of field view, significant color and textural rendition improvement (CRI 65, as opposed to CRI 21 for HPS), but also cooler light temperature (4000K, versus 2100K) and sharper shadows. Glare is also reduced, which prevents until recently characteristic, golden blanket over Los Angeles The monochromaticity of vapor lamps creates color filter ‘blanket’ over the metropoliswhich will be referred to as the ‘ganzfeld effect’. In practical terms, the ‘phenomenon’ leads to imprecise color contrast between objects, and consequently negatively impacts on depth of field judgement.

600

700

800

gas lamps [Main Street] 43 units

4 carbon arc lamps ordered by Council of Los Angeles

1867

1876 1878

cast-iron pole seven-globe

HPS lamps introduced 150,000 various street lamp units in the city

230,000 lamps installed, in 200 styles induction lighting

LED implementation commenced

‘70s

2000s 2002 2009 2012

(incadescent, mercury vapor, metal halide, HPS)

http://www.thedailybeast.com/

completion of LED replacement program 141,089 units

source:

energy crisis

Watts riots need to street lighting in residential areas highlighted

photo

‘60s 1965

‘50s

[

each proposed improvement to a property obliged to install lighting

mercury vapor lamps introduced

‘40s

]

1956

electricity supply from Hoover Dam

50,000 lamps installed

Bureau of Street Lighting founded

1925

1936

electrical incandescent street lighting [Broadway St] 135 units

http://bsl.lacity.org/

1905

source:

carbon arc street lighting (electric) [Paris/ London] electrical street lighting [Downtown] 30 units

kerosene street lighting [Lviv, Austrian Empire]

1853

photo

1882

gas street lighting in USA [Baltimore]

1816

[

150”

first gas street lighting [Pall Mall, London, UK]

1807

71.

] [ photo source: http://bsl.lacity.org/

lm ≈ moonlight

7”

FIG. 28

re-used pole from previous decades

[ changing light signature of the city ]

]

73. CREE LEDway® LEDway Series Street Lights 120-227V| 347-480V Rectangular //product code//

HT 2

Street Light – Horizontal Tenon Mount – Double Module

Standard LED retro-fitting to Los Angeles local neighborhood street lamp network.

light series for roadway lighting expands the application range replacing h industry leading optimized optical control and adjustable output for h Output series significantly improves the economic value for the end

(8000 CreeLEDway fitted in 2009) Progressively introduced 2009-2012. Roam® monitoring system integrated with some of the lights.

y

logy

ivery Grid™ optic

. and imported parts

00K & 5700K); 80 CRI (3000K)

34.9" (886mm)

000K (+/- 300K), 5700K (+/- 500K)

ars on luminaire/10 years on Colorfast DeltaGuard® finish

PRODUCT DATA

UL SV A 40K

unting

zontal on

Content:

General characteristics: base: base material: bulb: 10.6" (269mm) bulb material: bulb finish: operating position: 4.7" (121mm) main application: rated arg. life: finish: DeltaGuard® technologies: BetaLED® Patented NanoOptic® A

2

F

Module

Series

–

2 Double

F

– US * Canada

Voltage

Color Options*

Input Power Designator

CCT

Product dims: bulb L: total L: ø:

Options

Emitted Light details: UL SV A 30K** DIM 0-10V Dimming Q Field Adjustable Output Color Rendering Index: min. 70 Universal Silver 274W 3000K - Control by others - Refer to Field Adjustable Temperature:4000K (+/-300K) 120-277VColor BK 40K - Refer to Dimming spec sheet Output spec sheet for details UH Black 4000K for details R NEMA Photocell Receptacle 5700K (+/500K) - Photocell by others Universal BZ 57K - Can't exceed watage of - Intended for downlight 347-480VColor Bronze 5700K specified input power Temp. technical: applications at 0˚ tilt PB designator Initial Lumens: SC Door Safety Tether Platinum F Fuse Stainless steel aircraft cable Bronze Design Mean Lumens:- When code dictates fusing, UTL -Utility WH use time delay fuse Label per ANSI C136.15 White N No Quick Disconnect Harness Luminous Efficacy: ®

PD

or Leveling Bubble - Standard product features unless N option is specified Power Door - All connections between door and luminaire are shipped unconnected from the factory; door release spring included to open door automatically when the latches are released

- Includes exterior wattage label that indicates the maximum available wattage of the luminaire - Includes Q option - Refer to Field Adjustable Output spec sheet for details

Electrical Characteristics Watts: Lamp voltage: anty for warranty terms nted and will remain natural aluminum regardless of color selectionLamp Current: Ignition Time: Re-ignition Time:

Environmental Characteristics Mercury (Hg)

(BsL, 2011; Cree, 2013)

HOLLYWOOD’S L.A.

77.

The following pages contains summary of cinematographic montage evolution of Los Angeles, as depicted in the movies. This historical review maps technological development of the equipment (cameras, lenses) as well the medium (from black & white celluloid to highly light-sensitive digital ‘stock’).The pictures also grew ever so bigger and generous in ratio.

Case study films were identified through the filmographic context survey (Appendix 2): Collateral (2004), A Single Man (2009), Drive (2011) and The Bling ring (2013). Although not filmed in or depicting L.A., Days of Heaven (1978) form a strong reference point, as majority of the film was filmed exclusively during the golden hour.

[

[headshot]

79.

1: entertainment a performer’s photographic portrait “expressing different poses and expressions to give a potential employer an idea of the subject’s range of appearances or expression”; used as marketing tool to secure auditions/ roles

(Wikipedia, 2015)

2: arch still or motion picture

conveying the subject’s ambiance, character, features. Heavily used in boosterism to promote real estate developments. Featured in color (in lifestyle magazines, e.g.. Life) and black & white (Arts & Architecture) to generate desire and sell particular idea of ‘ideal’ lifestyle. In reality these representations are fabricated, or hyper-real.

[headshot] 1: entertainment a performer’s photographic portrait “expressing different poses and expressions to give a potential employer an idea of the subject’s range of appearances or expression”; used as marketing tool to secure auditions/ roles

2: arch still or motion picture conveying the subject’s ambience, character, features. Heavily used in boosterism to promote real estate developments. Featured in colour (in lifestyle magazines, e.b. Life) and black & white (Arts & Architecture) to generate desire and sell particular idea of ‘ideal’ lifestyle. In reality these representations are fabricated, or hyper-real.

[

photo

source:

http://thenativelatourist.com/

]

[ photo source: http://www.indianeducationlausd.com/ ]

[

photo

source:

vintageeveryday.wordpress.com/

[

photo

]

[

source:

[

theexcomedy.com

photo

source:

]

http://www.marriott.com/

]

photo

source:

disembodiedfootnotes.wordpress.com

]

[

photo

source:

wallpapers101.com

]

[

photo

source:

socialventurepartners.org

]

[

photo

source:

www.facclosangeles.org

]

115 107 119 138 107

Mann, A. Egoyan, A.G. Marshall, Hanson, C. Tamahori, L.

Panavision Panavision Panaflex Platinum Panavision Panaflex Gold II

111 98

Ray, N. Resinkoff, R.

1946 1996

145

Black Rain Slums of Beverly Hills Sunset Boulevard Collateral

1989 1998 1950 2004

125 91 110 120

Corrina, Corrina

1994

115

The Damned don't cry Lethal Weapon 2 Freeway Why do Fools Fall in love Heat

1950 1989 1996 1998 1995

103 114 110 116 170

The War of the Worlds

1953

85

Big Lebowski Magnolia The Big One: The Great Los Angeles earthquake Clueles

1998 1999

117 188

1990

180

1995

97

The Glenn Miller Story Where Truth Lies Prettythe Woman L.A. Confidential Mulholland Falls

1954 2005 1990 1997 1996

Rebel Without a Cause The First Power

1955 1990 1999

102

Parisot, D.

1990 1996 1955 2009

Harlin, R. Carpenter, Aldrich, R.J.

1997

104 101 106 99 104

1990 1960

120 68

Nurse Betty Bachelor Paradise Slums of in Beverly Hills Independence Day

2000 1961 1998 1996

110 109 91 145

Tarzan & Jane 500 Days of summer regained...sort of

1964 2009

80 95

Hanging up Why do Fools Fall in love L.A. Story The disorderly orderly

2000 1998 1991 1964

94 116 95 90

Mulholland Drive Freeway Magnolia Grand Canyon Point Blank

2001 1996 1999 1991 1967

147 110 188 134 92

Big Lebowski

1998

117

The Trip Drive Bandits

1967 2011 2001

85 100 1232

Jackson, M. Maddow, B., Eastwood, V.Q. Meyers, S., Strick, J. LaBute, N. Arnold, Jenkins,J. T. Emmerich, R.

Serendipity Point Films, Universal Touchstone Pictures, First Films, Movie WarnerChoice Bros., Regency Network, The (TMN) Silver Screen Partners IV Largo Entertainment, MGM, Enterprises, Wolper Polygram Filmed Organization Entertainment Interscope Warner Bros Communications, Nelson Entertainment DreamWorks SKG, Gran Via Productions 20th Century Fox, silver Paramount Pictures, Fade to Black Pictures Parklane Pictures Inc. Rysher Entertainment Productions, Depth of 20th century Fox, Field, Artina Films Donner/Shuler-Donner

Celebs & journalists “seedy underbelly of glitz 1950s LA; and murder glamor” 1950s invesitgation

spherical Panavision (anamorphic) Spherical Super 35 Spherical CinemaScope Spherical Panavision (anamorphic)

Gramercy Pictures (I), y y obsession with a soap Pacifica Film, Propaganda life of those trying tostar reap Fox Searchlight Pictures, MGM Films benefits of the previleged 20th century Fox, Wildwood Enterprises alien invasion (and infrastructure provided Centropolis Entertainment

VistaVision (visual effects) Super 35 Panavision (anamorphic) as Spherical CinemaScope Super 35

Bugsy

1991

136

Fox Searchlight Pictures, Digital Spherical (16mm “loce letter to Los AngelesWatermark, Dune Intermediate particular Downtown L.A.) Global Entertainment segments) stereotypical sisters bond Entertainment III (2K) Keaton, D. Spherical Prod. GmbH & Company over dying dad 1950s; multi-claim to a Carolco Pictures, Super 35(3Medien KG, Laurence Mark Nava, G. Rhino Films, Warner Bros. Spherical satire of L.A. peoplefortune Jackson, M. Spherical IndieProd Company perf) walking talking billboard Tashlin, F. Jerry Lewis Productions spherical Productions, L.A. Films Les Films Alain Sarde, Kushner-Locke Company, The Asymmetrical Productions, Lynch, D. Spherical Ghoulardi Film Company, Multicom Entertainment, Bright, M. Spherical “disparate characters reflect Inc. New Line Cinema, The Anderson, P. T. Babbo Spherical (partly) “racial and classsprawl” divides in th August Entertainment the Valley's Kasdan, L. Panavision(anamorphic)as (anamorphic) 20 Century Fox Panavision Los Angeles” Magnolia Project Boorman, J. MGM Panavision Polygram Filmed Panavision (anamorphic) Coen, J. & E. Spherical Entertainment, Working Title Films Digital MGM, Hyde Park American international visions on the LSD FilmDistrict, Bold Films, robber ProRes 4:4:4 “shots fall of night, Corman,R. spherical in city love at with IntermediateSuper 35 Pictures Entertainment, Empire Levinson, B. and gorgeous” theirgritty kidnapping victim OddLot Entertainment (1080p/24) TriStar Pictures, Mulholland Pictures beginning of Vegas, via LA to (2K) Productions, Baltimore Levinson, B. Spherical NY

Charlie's Angels: Full Flareup Throttle L.A. Confidential

1969 2003 1997

100 106 138

Neilson, J. McG Hanson, C.

Galaxy Quest Beyond the Valley of the Dolls Venice/ Venice

1999 1970 1992

102 109 108

Parisot, D. Meyer, R. Jaglom, H.

Collateral Zabriskie Point Short cuts

2004 1970 1993

120 110 187

Man, M Antonioni, M. Altman, R.

Volcano The Canyons The outside Nurse Betty man

1997 2013 1972 2000

104 99 104 110

Jackson, M.

Afternoon Delight Speed LA Plays itself Slums of Beverly Hills

2013 1994 1972 1998

95 116 55 91

Hanging upRing The Bling The New Centurions

2000 2013 1972

94 90 103

Where the Truth Lies Mulholland Drive Why do Fools Fall in love Messiah of Evil Corrina, Corrina

2005 2001 1998 1973 1994

107 147 116 90 115

Magnolia Earthquake Heat Bandits

1999 1974 1995 2001

188 123 170 1232

A single man

2009

99

Charlie's Angels: Full Throttle Hollywood Boulevard Clueles

2003 1976 1995

106 83 97

119 107 102 120

Allen, W.

Deray, J. LaBute, N.

stalker from Las Vegas to

Columbia Pictures GMF Warner Bros., Regency L.A. Corporation, Flower Films “seedy underbelly of glitz Enterprises, Wolper (II), Tall Trees Productions and glamor” 1950s Organization DreamWorks SKG, Gran Via p Productions decay of entertainement th movies have had - and 20 Century Fox industry continue to have - on our Rainbow Film Company

Digital intermediate Super 35 Super 35 (2K) Panavision (anamorphic) Panavision (anamorphic)

lives, our loves and on our Digital Paramount Pictures, LA night time ambience DreamWorks SKG, intermediate Super 35 (sodium light saturated) late 60s America; village Parkes/MacDonald Productions Fine Line Features, Spelling MGM (2K) Panavision (anamorphic) development Films International, Avenue daily lives of suburban LA Spherical “perfectly capture the city 20th century Fox, Pictures Productions HDCAM (1080/24) in all its glory- from Museum Donner/Shuler-Donner Spherical Prettybird, Post Empire darkonside L.A.- Mile power, Row the of Miracle to Productions, Moritz Original Gramercy Pictures (I), sex, abuse, wealth Cité Films, Films, General Sodium Fox Angelyne billboards” Spherical obsession with a soap star Pacifica Film, Propaganda Super 35 Production Company...

Films Whitewater Films, 72 Productions, Rincon th De Bont, J. 20 Century Fox Halsted, F. Eight of Clubs Entertainment Fox Searchlight Pictures, Jenkins, T. Wildwood Enterprises Global Entertainment American Zoetrope, NALA Keaton, D. Prod. GmbH & Company ChartoffWinkler Films, Pathé Distribution Medien KG, Laurence Mark Fleischer, R. Productions, Columbia Pictures Serendipity Point Films, First ChoiceAlain Films, Movie Egoyan, A. Les Films Sarde, Network, The (TMN) Asymmetrical Productions, Lynch, D. V/M Productions, Huyck,G. W, Katz, Rhino Nava, Films, Warner Bros. Babbo Inc. International Cine Film G. Nelson, J. New Line Cinema Corp. Ghoulardi Film Company, New Line Cinema, The Anderson, Robson, M.P. T. Universal Warner Bros., Magnolia Project MGM, Hyde ParkRegency Man, M Enterprises, Forward Entertainment, EmpirePass Levinson, B. Fade to Black Pictures Productions, Depth of Field, Artina Films

PanArri 435 Panavision

Panavision Primo

Panavision Panaflex Millenium Panavision Xl Panavision Panavision Panaflex Millenium Panavision Cine SL 35

Panavision

Kodak Vision 500T 5218 Eastman 250T 2 5293 Eastman Eastman EXR EXR 500T 500T 5298 5298

Technicolor Three-Strip Sony CineAlta HDW-F900 Panavision Panaflex Platinum Pathe Hand Arriflex 2C Crank Model 1909 (partly) Thomson VIPER FilmStream Arriflex 535B Panavision Panavision

Bowling ball

Zeiss DigiPrime Panavision Primo E-Series & Super High Speed

Kodak Vision 500T 5279 Eastman 400T 5259 Eastman Kodak Eastman EXR 500T 5298

Kodak Eastman Double-X 5222

Zeiss DigiPrime Panavision Panavision

Eastman Plus-X 5231

Panavision Panavision Primo C- & E-series Panavision Primo

Kodak Vision 250D5248 5246 Eastman EXR 100T Kodak Vision 500T 5279 Kodak Kodak Vision 500T 5279 Eastman EXR 200T 5293

Panavision Panaflex Lightweight Panavision Panavision

seedy side to suburban life “reflection of of L.A. violent nature LAdiversity y y Panavision (anamorphic) in Silver Lake and of the perils of traffic” represented by trying people's life those to reap behavior (esp. sexual) benefits of the previleged Spherical (and infrastructure provided Digital the young aspiring to bond be part VistaVision (special effects) stereotypical sisters Redcode RAW Spherical ofdying the wealthy, popular Intermediate over dad (4.5K) cops celebrity culture. (2K) Panavision (anamorphic) Celebs & journalists 1950s; multi-claim to a undead cult fortune seaside town black/white relationship

Panavision (anamorphic) Spherical Spherical Techniscope Spherical

“disparate characters Panavision (anamorphic)as destruction of L.A. by reflect an Spherical (partly) the Valley's sprawl” “intrinsially L.A. movie”; earthquake Panavision Panavision (anamorphic) robber fallmaking in love with robbers a mistake y Super 35 their kidnapping victim hue, luminosity- ambience Digital Panavision (anamorphic) Super 35 (also characterises perception on Intermediate 3perf) reality of the main (2K)

McG Arkush, A., Dante, J. Heckerling, A.

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Aldrich, R. Tamahori, L. Parisot, D. Man, M

Airone Productions, Lorimar After-hours debauchery by Largo Entertainment, Film Entertainment, PAC MGM, cops LA; murder DreamWorks SKG, Gran Via 1950s Paramount Pictures, Cinematografica Polygram Filmed LA night time ambience invesitgation Productions DreamWorks SKG, Entertainment

Spherical Digital Spherical Panavision (anamorphic) intermediate Super 35

Panavision Panaflex Platinum Panavision Panavision Arriflex 435 Panavision Panaflex Panavision Panaflex Arriflex 35-III Xl Panavision Panaflex Panavision Panaflex Panavision Panaflex Xl2 Moviecam Compact Bell & Howell Eyemo Clairmont

Panavision

Panavision Panavision Primo Lightweight Panavision Primo Millenium Panavision Super High Speed Platinum Millenium X Zeiss Super Speed & Variable Prime Panavision

Panavision Panaflex Gold Panavision Panavision Panaflex Millenium Xl Panavision Panaflex Platinum Mitchell BNC

Bowling ball POV

Panavision Pathe Hand Crank Model 1909 (partly) Panavision Panaflex Gold

Panavision Canon & Nikon

Panavision Primo (C- & EArriflex series) 2C

Panavision

Arri Alexa Panavision Arriflex 535B Panavision Panafles Canon EOS 5D Mark II (some shots) Arriflex 435 ES Panavision Panaflex Gold II Clairmont Panavision Panavision Panaflex Millenium Panavision Panaflex Lightweight Iconix HD-RH1 (some shots)

Panavision Panaflex Platinum Weisscam HS-2 (high-speed PanArri 435 Panavision Primo shots) Panavision Panavision Panavision Panaflex Millenium Xl Panavision Arri Alexa Panaflex Lightweight Panavision Primo Canon 7D Moviecam Compact Panavision Panaflex Millenium Panavision Panaflex Platinum

Zeiss Super Speed & Variable Prime

Sony CineAlta HDW-F900 Arriflex 35 III

Panavision Primo (C- & EZeiss DigiPrime series)

Thomson VIPER FilmStream Panavision Panaflex Gold II Red Epic

Zeiss DigiPrime

Beaumont VistaVision Panavision Panaflex Platinum

Panavision Primo Panavision Primo C- & E-series

Panavision Pathe Hand Crank Model 1909 (partly) Cine SL 35 Panavision Panavision Arriflex 435 Panavision Panaflex Platinum Panavision Panaflex Millenium Arriflex 435 ES Xl Panavision Panavision Panaflex Panaflex Millenium Millenium Panavision Xl2 Panavision PanArri 435

Panavision E-Series Panavision Panavision Panavision Primo E-Series & Super High Speed

35mm

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2.55:1 1.85:1

35mm 35mm 35mm First35mm 20mins

2.35:1 2.20:1

1.85:1 1.85:1 1.50:1 1.85:1 1.85:1

35mm 70mm 35mm prints 35mm 35mm 70mm (blow 35mm up) (anamor 35mm 35mm 35mm scenes phic) 35mm Some 35mm (anamor 35mm 70mm prints phic) Some scenes 70mm 35mm (blow 16mm 16mm (anamor up) phic) 35mm 70mmprints 35mm 8mm 35mm 35mm 35mm 35mm 35mm 35mm 35mm

2.35:1 1.85:1 1.85:1 2.35:1 2.35:1 2.35:1

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Kodak Vision Eastmant EXR 500T 500T 5279 5296 Kodak Vision 500T 5279 Eastman Kodak Eastman EXR 200T 5293

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Eastman EXR 200T 5293

Kodak Vision 250D 5246 Kodak Kodak Kodak Vision 500T 5279 Fuji Reala 500D 8592 Eastman Double-X 5222 Eastman EXR 500T 5298 Kodak Eastman Plus-X 5231 Kodak Vision 500T 5279

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Eastman EXR 100T 5248 Kodak Vision 500T 5279

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Kodak Vision 500T 5279

Panavision Panavision Primo

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1.37:1 2.35:1 1.85:1 2.35:1 1.85:1

C (DeLuxe) C (Company 3) digital C (Technicolor) b&w intermediate

Eastman EXR 500T 5298

Panavision

1.85:1

Eastman EXR 1200T 5293 Eastman EXR 100T 5248

+ Cooke S4 & Zeiss Master Prime Eastman EXR 100T 5248 Panavision Kodak & Angenieux Optimo lenses Panavision Panafles Eastman 400T 52594 Kodak Vision 500T 5279 Panavision Primo Panavision Primo Clairmont Panavision

C (DeLuxe) (Technicolor) C (DeLuxe) (Technicolor) (Technicolor) (Technicolor) C (Warner Color) CC (DeLuxe)(DeLuxe) prints

Kodak Eastman Kodak Kodak Vision 2 500T 5218

C (DeLuxe) C (Technicolor) (FotoKem) C C(Metrocolor) 16mm C film processing C (DeLuxe) C (FotoKem)

Some sequences

35mm

b&w + C b&w

35mm C C (Company 3) C (Technicolor) digital C (Technicolor) C intermediate (Technicolor) 35mm

Digital prints intermediate

(DeLuxe) CC (FotoKem) C (DeLuxe) C (DeLuxe) C (DeLuxe) C (Metrocolor) C (Technicolor) C (Company 3) C (Pathécolor) digital C (CFI) intermediate C (Technicolor) C (FotoKem) dailies C (Metrocolor) C (DeLuxe) C (Technicolor) Digital CLaboratories) (Technicolor) C digital (DeLuxe) C

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C b&w C (Eastmancolor) C C (DeLuxe) C (FotoKem) C (Technicolor) (Technicolor) C C C (DeLuxe) C (Technicolor) C (Technicolor) C (CFI)

Lab: Technicolor

C C (Technicolor) (FotoKem) 16mm C (Technicolor) (Technicolor) film processing C C (Company 3)

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1.85:1 2.35:1 2.35:1 1.85:1 2.35:1

35mm

1.85:1 2.35:1 1.33:1 1.85:1 1.85:1 2.35:1

Digital prints intermediate

2.35:1 1.85:1 1.85:1 2.35:1 1.85:1

Lab: Movielab

2.35:1 2.20:1 2.35:1 2.35:1 2.35:1 2.35:1

b&w C (Company 3) C digital (DeLuxe) Cintermediate (Metrocolor) C Digital (DeLuxe) Laboratories) C (DeLuxe) digital

2.35:1 1.20:1

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C (Company 3) C (Metrocolor) C (DeLuxe) C (Technicolor)pr C (DeLuxe) ints C

C (FotoKem) C C (DeLuxe) C C

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2.35:1 1.85:1 1.85:1

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1.85:1 1.85:1 1.37:1 2.35:1

35mm 35mm

35mm 35mm 35mm (anamor

phic) 35mm

35mm 35mm 35mm 35mm 35mm

35mm (anamor 35mm phic) (anamor phic) 35mm 70mm 35mm (blow 35mm (anamor up) phic)

35mm 35mm 35mm

35mm 35mm 35mm 35mm 35mm Redcode 35mm (spheri 35mm 35mm cal) DCinema 35mm 35mm 35mm 35mm 35mm (2-35mm 35mm 35mm 35mm 35mm 70mm 35mm (blow 35mm up) (anamor 35mm phic) 35mm (anamor phic) 35mm (anamor 35mm phic) 35mm First35mm 2min 35mm 35mm 35mm 35mm 35mm 35mm 35mm 35mm

First 20mins 35mm Some 35mm scenes

35mm 35mm 35mm

35mm 35mm (anamor

Topanga

The pomona Valley

Malinbu

San Gabriel Valley

Santa Monica Mountains

 Arcadia

Eastside

Northeast

Griffith Park

Hollywood Hills W

Hollywood Hills

Ennis-Brown house, LF

Stahl House, HH W

Los Feliz

Chinese Theatre, H. Blvd

Hollywood Blvd, H

Paramount Studios, H

Hollywood Sign, H

Hollywood

Hancock park

Fairfax

Sunset Blvd, WH

Sunset Strip, WH

Elysian Park

Echo Park

East L.A.

East Hoillywood

Chinatown

Koreatown

Westlake

Pico-Union

Mid City

Bunker Hill, DwnTwn

Downtown

Westwood

Bel-Air

Brentwood

Getty Mansion, PP

Pacific Palisades

Sheats House, BH

Century City

West los Angeles

Santa Monica

Culver City

Marina del Rey

Venice

Downey

Huntington Park

Lynwoodd

Santa Monica Blvd, BH

Historic South-Central

Leimert Park

Exposition Park

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Lakewood

Carson

Long Beach

San Pedro

Inglewood

West Hollywood

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mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.

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“This isn't America Jack. This is L.A.” Filmed in Lovell health house

mono (Western Electric Recording)

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35mm 35mm 35mm 35mm 35mm

Kodak Vision2 500T 5218 Eastman Eastman Double-X 5222 Eastman EXR 100T 5248 Eastman 50T 5251 Kodak Vision3 500T 5219 Eastman Plus-X 5231 Eastman EXR 500T 5296 Kodak

Eastman 5384 Eastmant 5384

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“This isn't America notes Jack. This is L.A.”

mono (RCA photophone system)

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35mm 35mm

1.37:1

Zeiss Master Prime

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2.35:1 2.35:1 1.66:1 2.35:1 1.85:1 1.85:1

Eastman EXR 500T 5298 Kodak vision2 250D 5205 Kodak

Kodak Vision 2383

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C (DeLuxe) (DeLuxe) C b&w b&w

Eastman EXR 500T 5298 Eastman EXR 200T 5293 Eastman Double-X 7222

Eastman

1.33:1

C (Technicolor)

Panavision Panavision Primo

Eastman 5384

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Eastman EXR 100T 5248 Kodak Vision 500T 5279

Eastman EXR 500T 5296 Eastman EXR 500T 5296 Kodak Vision 500T 5279 Eastman EXR 200T 5293 Eastman EXR 100T 5248

Eastman 5384

C (Technicolor) C (DeLuxe) C (Technicolor) C

Digital prints intermediate

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35mm 35mm 35mm 35mm 35mm 35mm 35mm 70mm 35mm prints 35mm 35mm 70mm (blow 35mm 35mm up)

C C (Technicolor)pr b&w ints C (Technicolor) C (DeLuxe) C (Technicolor) C (Technicolor)

2.20:1 2.20:1 2.35:1 1.85:1 1.37:1 2.35:1 2.35:1

16mm prints 35mm 70mm 35mm

Eastman Kodak

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Digital C (DeLuxe) Laboratories) digital C (Technicolor) C b&w C (Company 3)

b&w

Fuji Reala 500D 8592

y LA as new Australia-type murders in age music industry Panavision (anamorphic) hue, luminosityambience Digital Panavision (anamorphic) Super 35 (also spherical 'black sheep' island “perfectly capture the city characterises perception on Intermediate 3perf) in all its gloryfrom Museum (2K) reality of the main Spherical Row on the Miracle Mile to Productions, Moritz Original Warner Bros, Malpaso Angelyne billboards” Productions, Panavision (anamorphic) City Film Corporation Kazanjian/Siebert Productions dark side of urban L.A.

Pictures

Eastman EXR 100T 5248 Eastman 400T 5259 Eastman Eastman EXR EXR 200T 200T 5293 5293

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Kodak Vision 500T 5279

Panavision Primo Panavision Panavision

35mm

Kodak Vision Premier 2393 premier 2393 Fuji F-CP 3519D

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35mm 35mm 35mm 70mm 35mm prints 35mm 35mm 35mm Fuji Eterna-CP (anamor 35mm phic) 3513DI Kodak Vision 35mm Premier 2393 (anamor 35mm 70mm phic) 70mm 35mm (an(blow 70mm ( (blow up) 35mm 70mm 35mm prints Eastman 5384 35mm up) 35mm 35mm (anamor 35mm Eastman phic) 8mm Eastman 5384 35mm 35mm

Eastman EXR 500T 5296

Beaulieu VistaVision Cine 8 Beaumont Panavision

POV Panavision Panavision Panavision E-Series

1.85:1 1.37:1 1.85:1 2.35:1 2.35:1

& 65mm

Eastman 5384) Eastman

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Panavision Panaflex Platinum Panavision Panaflex Gold II Clairmont Panaflex Millenium Panavision

VistaVision (special effects) 20th century Fox, alien invasion Emmerich, R. Super 35 Centropolis Entertainment Paramount, Jaffey y NY cops escorting a Yakuza Scott, R. Super 35 Lansing, Pegasus Film life of those trying to reap Fox Searchlight Pictures, member to Japan Partners benefits of the previleged Jenkins, T. Spherical Digital Paramount Wildwood Pictures, Enterprises (and provided LAinfrastructure night time ambience Wilder, B. Paramout spherical DreamWorks SKG, intermediate Man, M Super 35 (sodium light saturated) Parkes/MacDonald Productions (2K) black/white relationship Spherical Nelson, J. New Line Cinema HDCAM (1080/24) Sherman, V. Warner Bros spherical warner Bros., Silver Kushner-Locke Company, The Donner, R. Panavision (anamorphic) Pictures 1950s; multi-claim to a Multicom Entertainment, Bright, M. Spherical Nava, G. Rhino Bros. Spherical WarnerFilms, Bros.,Warner Regency “intrinsially L.A. movie”; fortune Man, M Panavision (anamorphic) August Entertainment robbers making a mistake Enterprises, Forward Pass Haskin, B. Paramount spherical Polygram Filmed Ghoulardi Film Company, “disparate characters reflect Coen, J. &P. E.T. New Spherical Entertainment, Working Line Cinema, The Anderson, Spherical (partly) the Valley's sprawl” Title Films Magnolia Project Elikann, L. Von Zerneck Sertner Films Spherical Panavision (anamorphic) Stereotype of life of Beverly Heckerling, A. Paramount Spherical Hills' crew

Nobody lives forever Independence Day

C35mm (CFI) negative b&w b&w negative special C (DeLuxe) C effects) (DeLuxe) C (DeLuxe) C

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 Shortlist of potential case study feature films, containing golden hour   or sodium  hour frames; or filmed in case study houses (Goldstein-Sheats  residence and Stahl House)     

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Panavision Panaflex Lightweight Panavision Primo (C- & E8mm footage Arriflex 35 III series) Arriflex 435 ES Panavision Primo

Agfa XTS 400 Eastman EXR 1200T 5293 Kodak

Eastman 5384

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35mm 35mm 35mm

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2.20:1 2.35:1 1.37:1 2.35:1 2.35:1

35mm (anamor 35mm phic) 35mm 70mm 35mm (blow (anamor up) phic) 70mm prints

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robber fall in love with Super 35 their kidnapping victim “culture od wealth and “perfectly capture the city th Films, American 20 century Fox,Entertainment decadence that dominated much Paramount spherical in all its gloryfrom Museum Partners L.P. of Los Angeles in the '80s” Donner/Shuler-Donner Spherical “reflection L.A. diversity th Row on the of Miracle Mile to Digital Columbia Pictures Panavision (anamorphic) 20 Century Fox Productions, Moritz Original andAngelyne the perils of traffic” intermediate billboards” Corporation, Flower Films Super 35 (II), Tall Trees Productions (2K)

C (DeLuxe) C (DeLuxe) b&w

35mm 35mm

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Kanievska, M. Marshall, G. Jackson, M. De Bont, J. McG

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1987 1946? 1997 1994 2003

Panavision Panavision

35mm 35mm 16mm 35mm











2001

Spherical Panavision (anamorphic) spherical

1.85:1 1.85:1 1.37:1 1.85:1







Bandits

corporation MGM, Hyde Park Entertainment, Empire 20th Century Fox, Amercent Pictures

C C (Technicolor) b&w C (Technicolor)

  





Altman, R. Carpenter, J. Ulmer, E.G.

Eastman EXR 200T 5293 Agfa XT 100 Eastman EXR 100T 5248

35mm 35mm 35mm 35mm



 



187 101 67

Kodak Vision 500T 5279 Eastmancolor

35mm 35mm 35mm 35mm





1993 1996 1945

Panavision Primo Arriflex

1.85:1 1.37:1 1.85:1 1.85:1







Short cuts Escape from L.A. Detour

Fine Line Features, Spelling Films International, daily of Australia-type suburban LA Paramount Pictures,Avenue LA as lives new age PicturesEntertainment Productions 'black sheep' island Rysher Producers Releasing

Spherical Super 35

Panavision Super Speed MKII Panavision Panaflex Gold II Arriflex Ultra Speed MKII Panavision Panaflex Lightweight Panavision Panavision Panavision Panaflex Gold Panavision Panaflex Platinum

Kodak

(FotoKem) C C (Technicolor) C C (Technicolor) (Technicolor) C (DeLuxe) C (Technicolor)









Jaglom, H. Lynch, Hanson,D. C. Halicki, H. B.

Eastmant EXR 500T 5296

35mm 35mm





 Central L.A.





Cooke Varotal Lenses

stereotypical sistersVenice bond cop living in swanky over dying dad 1950s LA;ofmurder loft snippets memories? Dreams? invesitgation p movies have had - and continue to have - on “seedy underbelly of our glitz lives, and ourglamor” loves and on our 1950s car theft

2.35:1 1.85:1 1.37:1











Eastman 400T 52594 Kodak

Arriflex Arriflex 535B 35-II Bolex Camera

Title Films Global Entertainment WarnerGmbH Bros, CannonGroup, Prod. & Company Largo Entertainment, MGM, Maya Deren Experimental Golan-Globus Productions Medien KG, Laurence Mark Polygram Filmed Films Entertainment Les Films Alain Sarde, Warner Bros., Regency Rainbow Film Company Asymmetrical Productions, Enterprises, Wolper H>B. Halicki Mercantile Babbo Inc. Organization Co.

Panavision Super Prime High Speed

35mm (anamor 35mm 35mm phic)

 



C (DeLuxe) C (Technicolor) C (DeLuxe) bw

8mm 35mm 35mm 35mm 35mm





Eastman EXR 500T 5296 Kodak Vision 500T 5279 Eastman

Panavision Primo (C- & Eseries) Compact Panavision Panaflex Platinum Moviecam

35mm 35mm 35mm 35mm



Westside





2.35:1 1.85:1 2.35:1 1.37:1 2.35:1

Spherical Spherical spherical Spherical

Keaton, D.G.P. Cosmatos, Deren,M., Tamahori, Hammid, A.L.

1977 1996 1999 2004

(CFI) C C(DeLuxe) b&w C (Technicolor)

Panavision Panafles Panavision

94 87 14 107

The Choirboys Mulholland Falls Galaxy Quest Collateral

Eastman EXR 500T 5298 Eastman EXR 250T100T 52935248 Eastman Eastman EXR 500T 5298

Bowling ball POV Panavision & Zeiss SuperPrimo SpeedE-Series & Variable

Panavision Panafles Panavision Arriflex 2C

2000 1986 1943 1996

The Rookie The Savage Eye

Canon & Nikon Panavision E-Series

Spherical Spherical Spherical Spherical

Hanging up Cobra Meshes of the Afternoon Mulholland Falls

Galaxy Quest The Adventures of Ford Escape L.A. Fairdale Kiss mefrom deadly A single man Volcano

Panavision Panaflex Gold Cine SL 35

Super 35 Spherical spherical

Landis, J.B. Levinson, Heckerling, A. Coen, J. & E.

Less Than Zero The Blue Dahlia Volcano Speed Charlie's Angels: Full Throttle

Eastman EXR 200T 5293

1.78:1 1.85:1 1.37:1 1.85:1 2.35:1

TriStar Pictures, Mulholland chase and drive thr' LA's beginning of Vegas, via LA to Universal Polygram Filmed Productions, Baltimore Stereotype of life of Beverly streets NY Paramount Entertainment, Working Pictures Hills' crew

115 136 97 117

108 147 138 105

1.37:1 2.20:1

(DuArt Film) CC (Technicolor) b&w C

Keaton, B.

LaBute, N. Bright, M. I., Cummings,

1985 1991 1995 1998

1992 2001 1997 1944

C (Technicolor) C (DeLuxe)

Gramercy Pictures (I), Kushner-Locke Company, The obsession with a soap star Pacifica Film, Propaganda Multicom Entertainment, Newly-discovered star vs. th August Entertainment Century Fox 20 Films director

Into the night Bugsy Clueles Big Lebowski

Venice/ Venice Mulholland Drive L.A. Confidential Gone in sixty seconds

Eastman Kodak EXR 100T 5248

Panavision Panavision





110 97

Panavision

Arriflex BL Panavision Panavision







2000 1996 1939

Panavision Clairmont







Nurse Betty Freeway Hollywood Cavalcade

2.20:1 1.37:1





 South L.A. Southeast 



Spherical Panavision (anamorphic) spherical Panavision (anamorphic)

developer and realtor

b&w

Panavision Primo

 

The Harbor



Hemdale Film, Pacific Zenith- self-proclaimed “racial and classcommunity divides in th Western, Euro Film 'fastest growing 20 Century Fox Warner Bros., Regency “intrinsially L.A. movie”;in Warner Bros Los Angeles” Funding robbers Georgemaking aproperty mistake Enterprises, Forward Pass America'.

Panavision Panaflex Gold Beaumont VistaVision

C (DeLuxe) b&w C (Technicolor)



South Bay



Cameron, J. Kasdan, L. Keighley, G. Man, M

Eastman 100T 5254 Kodak Vision 500T5296 5279 Eastman EXR 500T

EYE (as seen)



107 134 74 170

Super High Speed Lenses

Panavision Panaflex Gold, Bell & Howell Eyemo Panavision C-Series Panavision Panaflex Gold II

2.35:1 2.35:1 1.33:1 2.35:1

STREET LIGHT COL.TEMP



1984 1991 1934 1995

Spherical Spherical spherical Spherical

Eastman EXR 500T 5296 Eastman EXR 100T 1200T5248 5293

Eastman 5384

TIME STAMP(s)

 

The Terminator Grand Canyon Babbitt Heat

Panavision (anamorphic) Super 35

Panavision Primo (C- & Eseries)

Eastman

TOTAL TIME

REALISTIC



Parisot, Emmerich,D. R. Nava, G. M. Jackson, Parrott, J. Nelson, J.

Panavision Panaflex X Arriflex 35 III

C (Technicolor) C (DeLuxe) C (Metrocolor)

2.35:1 2.20:1 1.85:1 2.35:1 2.35:1 2.20:1 2.35:1 1.85:1

Agfa XT 100

35mm 35mm 35mm (anamor 35mm 35mm 35mm phic) 35mm 35mm 70mm (blow 35mm 35mm up) 35mm 35mm 35mm 35mm 70mm (blow 35mm 35mm up) (specia 35mm 35mm 70mm prints First 2min l 35mm effects 70mm prints 70mm 20mins (35mm First(blow35mm 35mm up) Master ration 35mm 35mm (anamor 35mm 1.33:1; 1.85:1 70mmprints phic) output? 35mm 35mm 70mm 35mm 35mm 35mm 35mm 35mm 35mm (blow up)

DAY NIGHT Eastman 5384 NATURAL RTIFICIA





102 145 141 95 29 115

Panavision Super High Speed Panavision Panaflex Panavision

C (DeLuxe)(DeLuxe) CC (DeLuxe) T prints C (DeLuxe)

PIXELS

ATMOSPH HYPERCITY  ERE REALIST AMBIENC (haze,  IC E CAMERA smog)  (as capture   d)

 SETTING FILIMING LOCATIONS



1999 1996 1983 1991 1932 1994

DreamWorks SKG, Gran Via 20th century Fox, alien invasion Productions Centropolis Entertainment American Playhouse, Carolco Pictures, begging life LA peopleby Mayan satire of in L.A. Channel Four Films, IndieProd Company Indian immigrants Hal Roach Studios walking talking billboard black/white relationship New Line Cinema Independent Productions Productions, L.A. Films

Arriflex 35-III Panavision Panavision Panaflex

Eastman Double-X 5222 Agfa XTS 400 Eastman EXR 100T 5248 Eastman Plus-X 5231 EXR 100T 5248

HUE

 





Galaxy Quest Day Independence El Norte L.A. StoryBox The Music Corrina, Corrina

spherical

Panavision Panavision Panaflex

Digital prints intermediate



LIGHTING GOLDEN HOUR

 



RKO Pathe Pictures

Panavision Panavision Panaflex Pathe Hand Crank Model 1909 (partly)

C (DeLuxe) C C (Metrocolor) SPECTRUM C (Technicolor)

CINEMATOGRAPHIC REPRESENTATION



Cukor, G.

VistaVision (visual effects) Panavision (anamorphic) spherical Panavision (anamorphic) VistaVision (special effects)

STOCK TYPE

Sheet1

Eastman 5384



88

synopsis “reflection of L.A. diversity and the perils of traffic” 2061 LA saturated with fluorescent lights & megascale light billboards

Kodak

Eastman 5384



1932

'STUDIO' 20 Century Fox Keyston Company The LaddFilm Company, Shaw Brothers, Warner Bros. th

LENSES

35mm 35mm 35mm 35mm 70mm prints FORMAT 1.85:1 35mm 35mm 1.85:1 35mm 35mm NEGA- 35mm PRINASPECT 35mm 1.85:1 TIVE TED RATIO 35mm 1.85:1 35mm 70mm prints



What Price Hollywood?

DIRECTOR De Bont, J. Sennett, M. Scott, R.

Panavision CAMERA

35mm 35mm 35mm 35mm

Westchester

YEAR 1994 1913 1982

Panavision (anamorphic) Panavision (anamorphic) Spherical

Panavision

1.85:1 1.85:1 1.85:1 1.85:1

Playa del Rey

MOTION PICTURE 'COLOR' Speed A muddy romance Blade Runner

120 101 114 RUN TIME 116 11 117

Eastman EXR PHOTOGRAPHY 500T 5298 FILM STOCK CHARACTERISTICS

Panavision

C C (Technicolor) C (Technicolor) C (DeLuxe)

Gardena

1990 1996 1984

Panavision

Eastman EXR 200T 5293 Eastmant EXR 500T 5296



The Rookie Escape from L.A. Body double

Panavision (anamorphic) Spherical Spherical Spherical (partly)

Panavision



104 187 96 188

Entertainment 20th Century Fox, Spelling silver Fine Line Features, murders in music industry Harlin, R. Pictures Films International, Avenue daily suburban Altman, R. disco lives rollerofrink in oldLAPan Greenwald, R. Universal Ghoulardi Film Company, Pictures Productions Pacific Auditorium “disparate characters reflect Anderson, P. T. New Line Cinema, The the Valley's sprawl” Magnolia Project Warner Bros, Malpaso Productions,Pictures, Eastwood, V.Q. Paramount LA as new age Australia-type Carpenter, J. Kazanjian/Siebert Productions 'black sheep' island De Palma, B. Columbia Pictures Rysher Entertainment

Spherical Spherical MASTER Spherical SOURCE

Super High Speed Panavision

Torrace

1990 1993 1980 1999

cops Stereotype of life of Beverly Hills' crew p Interscope movies have had - and Communications, Nelson “importance of luxury apparel continue to have - on our Rainbow Film Company Entertainment and a our wealthy to Paramount Largo Entertainment, MGM, lives, loveslifestyle and on 1950s; multi-claim toour a 1950s LA; murder status in Los Angeles” Rhino Films, Warner Bros. invesitgation Polygram Filmed fortune

Cinematografica Paramount

Spherical Spherical Spherical Spherical CINEMATOGRAPHIC PROCESS



The Adventures of Ford Fairdale Short cuts Xanadu Magnolia

Resinkoff, R. Jaglom, H. Schrader, P. Nava, G. L. Tamahori,

Pictures Fox Searchlight Pictures, life of those trying to reap benefits of the previleged Touchstone Pictures, Wildwood Enterprises (and infrastructure provided Airone Productions, Lorimar Silver Screen Partners IV After-hours debauchery by Film Entertainment, PAC



98 108 117 116 107

Jenkins, T. Marshall, G. Aldrich, R. Heckerling, A.



1990 1992 1980 1998 1996

91 119 119 97

elsewhere in L.A.

The First Power Venice/ Venice American Gigolo Why do Fools Fall in love Mulholland Falls

1998 1990 1977 1995

Rancho Palos Verdes

Slums of Beverly Hills Pretty Woman The Choirboys Clueles





Filmed in Glendale (Lautner s House) (Verdugos), Pasadena, Ambassador Collega (Pasadenademolished Filmed in Playboy Mansion filmed in now demolished Gilmore Drive-in theatre

FIG. 37: SHORTLIST OF L.A.’S FILMOGRAPHY “This isn't America Jack. This is L.A.”

(IMDb, 2014)

83.

peanut shells dropped from helicopter a stand-in for rising locusts- filmed in reverse

North American clearer air produces harsh chiaroscuro, in contrast to southern latitudes’ location, such as Texas.

DoP’s main task was “deilluminating” to set stage for the natural light phenomenon to create the envisaged look. Most scene filmed with only available lightto also reflect living pre-mass electrification conditions during the portrayed period.

camera settings for magic hour scene shooting: forced one stop (to ASA200). With gradual light levels’ reduction, lens was increasingly opened to eventually reach max. aperture of 55mm lens at T/1.1. Shutter slowed down to achieve exposure time of 1/16 (down from 1/50 frames/second)

effect of the changing settings had impact on the negative, which ‘mutated’ into different tones and the coloring had to me matched in postproduction. FIG. 38

N O I T A IR P INS

CASE STUDY #1: DAYS OF HEAVEN

CINEMATOGRAPHIC

S E T REPRESENTATION G E N E R A L

MOTION PICTURE DATA RELEASE YEAR DIRECTOR STUDIO GENRE RUN TIME BUDGET BOX OFFICE CINEMAT. PROCESS CAMERA LENSES FILM STOCK/MEDIUM SPECTRUM

1978 Terrence Malick Paramount Pictures drama/ romance 94min $3,000,000 (+$800,000) $3,446,749 (domestic); $3,660,880 (global) spherical Panaflex Panavision Eastman (new, ultra light-sensitive film) color (Metrocolor)

HUE ASPECT RATIO FORMAT NEGATIVE FORMAT PRINTED SET LOCATION PLOT SETTING SHOOTING TIME

golden 1.85:1 35mm 75mm (blow-up) Alberta, Canada (1975) Texas, USA (1916) early AM, late PM

Nestor Almendros, who won Best Cinematography Academy Award for the project, and the director told the story predominantly through visual means. Conveying ambiance created by the magic hour light (during which majority of the film was shot), was prioritized over the actors. Natural light became the mies-en-scene. ALM EN DROS: “TH E LIGHT IS VERY SOFT, AN D TH ERE IS SOM ETHI NG MAGIC ABOUT IT. IT LIMITED US TO AROU N D TW ENTY MI NUTES A DAY, BUT IT DID PAY ON TH E SCREEN. IT GAVE SOM E KI N D OF MAGIC LOOK, A BEAUTY AN D ROMANTICISIM” (DOU BAN, 2005-2015)

N EGATIVE ‘SOAKED U P’ LIGHT, FACILITATI NG CLEAR, SHARP IMAGES I N LOW LIGHT. (The Numbers, 1997-2015; IMDb, 2015; Wikipedia, 2015; Douban 2010 )

85.

00:36:31 one of few moments on the streets where L.A. drastically changes its ‘head shot’- from a soft, ‘safe’ sodium ambiance Max is thrown into an oppressive ‘high-definition’ fullylit arena with nowhere to hide. City fabric suddenly turns aggressive and (visually) hard and sharp- very much like Mann’s previous work Heat (1995) which is set in blue-hued City of Angels.

FIG. 39

REPRESENTATION G E N E R A L

CASE STUDY #2: COLLATERAL MOTION PICTURE DATA

RELEASE YEAR DIRECTOR STUDIO GENRE RUN TIME BUDGET BOX OFFICE CINEMAT. PROCESSMASTER CINEMAT. PROCESSSOURCE CAMERA

LENSES

S E T CINEMATOGRAPHIC

FILM STOCK/MEDIUM SPECTRUM

2004 Michael Mann Paramount Pictures; Dreamworks SKG drama 120min $65,000,000 $101,005,703(domestic); $217,764,291(global) Digital Intermediate (2K) Super 35 HDCAM (1080/24) PanArri 435 Panavision Panaflex Millenium XL Panavision Panaflex Millenium Sony CineAlta HDW-F900 Thomson Viper FilmStream Panavision Primo Zeiss DigiPrime Kodak Vision 2 500T 5518 Kodak Vision 500T 5279 color (Company 3); Technicolor- prints

HUE golden hour + sodium hour+ blue hour ASPECT RATIO 2.35:1 FORMAT NEGATIVE 35mm FORMAT PRINTED 35mm (anamorphic: Kodak Vision Premier 2393 SET LOCATION Los Angeles (contemporary) PLOT SETTING Los Angeles: mostly Central L.A. (2003) SHOOTING TIME late PM, night time, dawn This piece depicts Los Angeles from sunset, through nigh to very early hours of the next day. Most footage was shot suing L.A.’s nocturnal street scape with bounced and supplementary light only where it was unavoidable. The feature is a tribute to the city as Mann set out “to make L.A. night as much of a character in the story as Vincent and Max.” (The ASC, 2004) DIGITAL CAM ERA. ALLOWS VARIABLE FRAM E SHOOTI NG SPEED. USED EXTENSIVELY I N N IGHT SHOTS, TO MAXIMIZE AVAILABLE LIGHT. l COLOR TEM PERATU RE AN D LUMI NANCE LEVELS RECORDED COU LD BE ADJ USTED ON SET TO REFLECT WHAT TH E DIRECTOR & DOP SAW ON SET- AN D WHAT WOU LD MATCH MAN N’S VISION. WITHOUT COM PROMISI NG ON NOISE AN D CLARITY OF IMAGE ( IMDb, 2015; Wikipedia, 2015; Box Office Mojo, 2015; The ASC, 2004 )

87. George’s dead partner

cutaway scene of George’s flashback to the happier times. Idealized, cherished pictures are clearly distinguished by ‘retro’ look created by saturation of yellow and red tonesreminiscent of experiencing sunset/sunrise light conditions. FIG. 40

CASE STUDY #3: A SINGLE MAN

S E T

CINEMATOGRAPHIC

REPRESENTATION

G E N E R A L

MOTION PICTURE DATA RELEASE YEAR DIRECTOR STUDIO GENRE RUN TIME BUDGET BOX OFFICE CINEMAT. PROCESSMASTER CINEMAT. PROCESSSOURCE CAMERA

2009 Tom Ford Fade To Black Productions drama 99min $7,000,000 $9,166,863(domestic) Digital Intermediate (2K) Super 35 (also 3perf)

LENSES FILM STOCK/MEDIUM SPECTRUM

Arriflex 435 Panavision Panaflex Millenium XL Panavision Panaflex Millenium XL2 Panavision Primo Kodak Vision 500T 5279 color + black & white

HUE ASPECT RATIO FORMAT NEGATIVE FORMAT PRINTED SET LOCATION PLOT SETTING SHOOTING TIME

golden hour + blue hour + monochrome 2.35:1 35mm 35mm (anamorphic)(blow-up) Los Angeles (1960s) Los Angeles (2009) TBC

The film’s strong visual style, clearly defines emotional taxonomy of depicted events and the main character’s emotional state towards them. Romantic, happy memories are indicated by typical golden hour warm glow (although some frames utilize monochromatic palette, it is the ‘gilded’ sequences which are most powerful and remembered), whereas tragic past events are identified by cool color spectrum. ‘Present day’ events’ chromaticity flows from low-saturated washedout imagery only to spring into through technicolor to magic hour ambiance during moments when George momentarily escapes depression. FILM CAM ERA

DIGITAL GRADI NG AN D COLORI NG: ALLOWS FOR GREATER CONTROL AN D ACCU RACY OVER TH E EFFECT RECORDED ONTO TH E RELEASE STOCK. STRUCTU RE OF TH E IMAGE SUCH AS GRAI N AN D SHARPN ESS CAN ALSO BE ADJ USTED. ( IMDb, 2015; Box Office Mojo, 2015; Goi 2014 )

89.

00:09:29 police car chase scene frames recorded both sodium (street lamps) and LED & fluorescent light sources (buildings)- vapor lamps’ chromatic tone seems to be negated- most likely in post production to enhance dramatic qualities of the scene with a ‘doomed’ blue tint FIG. 41

CASE STUDY #4: DRIVE

REPRESENTATION G E N E R A L

MOTION PICTURE DATA RELEASE YEAR DIRECTOR STUDIO GENRE RUN TIME BUDGET BOX OFFICE CINEMAT. PROCESSMASTER CINEMAT. PROCESSSOURCE CAMERA

S E T CINEMATOGRAPHIC

LENSES

FILM STOCK/MEDIUM SPECTRUM HUE ASPECT RATIO FORMAT NEGATIVE FORMAT PRINTED SET LOCATION PLOT SETTING SHOOTING TIME

2011 Nicolas Winding Refn Film District crime drama 100min $15,000,000 $35,060,689(domestic); $76,175,166 (global) Digital Intermediate (2K) ProRes 4:4:4 (1080p/24) Arri Alexa Canon EOS 5D Mark II (some shots) Clairmont Iconix HD-RH1 (some shots) Weisscam HS-2 (high-speed shots) Cooke S4 Zeiss Master Prime Angenieux Optimo Clairmont digital color (Company 3)- digital intermediate golden hour + sodium hour+ daylight 2.35:1 SXS Pro 35mm (anamorphic) (Fuji Etern-CP 3514DI) D-Cinema Los Angeles (contemporary ‘80s vibe) Los Angeles (2010) throughout day and night

Low budget of the project restricted potential of extensive postproduction virtuosity to bring the city streets to the fore as the second lead character. Downtown’s dilapidated, yet not LEDilluminated neighborhood roads served as both foil for the action and essential visual signifier of particular sequences’ atmosphere. DIGITAL CAM ERAS USED DU E TO TH EIR HIGH LIGHTSENSITIVITY, WHICH WAS A CRUCIAL FEATU RE FOR TH E FILM COM PRISI NG I N SIGN IFICANT PART OF LOWLIT SCEN ES. (POLLARD, 2015; DOBSON, 2015) ( IMDb, 2015; Box Office Mojo, 2015)

91.

00:37:00 clashing color temperature in the mid-ground delineate function zones. Background city scape is mainly composed of subtle brown glow (potentially from the Orange County which does not use LED lamps) and points of various cool white light tones.

FEW WIDE-ANGLE NOCTU RNAL SEQU ENCES AN D LACK OF STREET VIEWS AFTER DARK IM PI NGE ON ABILITY TO CLEARLY TH ROUGHLY AN D DIRECTLY COM PARE TH E ‘BEFORE’ AN D ‘AFTER’ LED RETROFIT H EADSHOTS. FUTU RE RELEASES WILL PROVIDE MORE COM PARISON MATERIAL. FIG. 42

CASE STUDY #5: THE BLING RING

S E T CINEMATOGRAPHIC

REPRESENTATION G E N E R A L

MOTION PICTURE DATA RELEASE YEAR DIRECTOR STUDIO GENRE RUN TIME BUDGET BOX OFFICE CINEMAT. PROCESSMASTER CINEMAT. PROCESSSOURCE CAMERA LENSES FILM STOCK/MEDIUM SPECTRUM

2013 Sofia Coppola American Zoetrope; NALA Films crime drama 90min $15,000,000 $5,845,732(domestic); $19,145,732(global) Digital Intermediate (2K)

HUE ASPECT RATIO FORMAT NEGATIVE FORMAT PRINTED

golden hour + sodium hour+ daylight 1:85:1 Redcode 35mm (anamorphic) (Kodak Vision 2383) D-cinema Los Angeles (2008/2009) Los Angeles (March-April 2012) throughout day and some night shots

SET LOCATION PLOT SETTING SHOOTING TIME

Redcode RAW (4.5K) Red Epic TBC TBC color+ few monochrome sequences

Filmed post-completion of the Solid State Lighting system in L.A., nocturnal long-shots show a much subdued distant vistas of Downtown. The golden glow over the city has disappeared, leaving just twinkling multi-color light points of skyscrapers, parking lots and cool-white municipal arteries in the backdrop. Ornamental lamps along affluent areas continue to emit warm glow, but this is largely color-corrected. Remote Architectural fabric can only be distinguished by its own rooftop and internal lights. City of Angels feels closer to heaven as horizon line blurs away.

( IMDb, 2015; Box Office Mojo, 2015)

FIG. 43

romantic notions about the loved one represented in sunshine saturated rich tones .

FIG. 45

Schaffer residence by John Lautner cast as an ‘extra’ for the film. Juxtaposition of light conditions’ impact rendering the architectural form. The House in its golden hour incarnation, embodies widely-adopted perceptions about American Dream living and L.A. life- an unmistakably utopian image.

blue hour cool light temperature signifies memories of past tragic events. Color used as explicit disjunction tool between contrasting emotions.

In contrast, 15000K hue overlaid on the same structure bestows a drastically different aura.

George (present in the frame only in his imagination) George’s dead partner

FIG. 44

FIG. 46

Golden and blue hour emotional rendering in A Single Man.

CROSS-CUT : CASE STUDY #2 SCEN E

case study: #2

Collateral (2004)

scene timecode : 00:04:10

CROSS-CUT : CASE STUDY #3 SCEN E

case study: #3

A Single Man (2009)

scene timecode : TBC

FIG. 48

FIG. 47

Retreating sun gilds West horizon, whilst Rayleigh scattering is clearly seen on the opposite side of the firmament, heralded by shades of blue.

Low Color Rendering Index: Gradually all colors surrender to golden hue- trees are only green because our brain completes the picture from memory and context.

case study: #4

Sparkling, blinding sun rays are a result of Sun’s low incline above the horizon.

Drive (2011)

Seductive ephemeral rendering of magic hour’s light flanks violent sequences of Driver’s life. During these bright, gilded moments L.A. is the embodiment of Sunset Boulevard- full of hopes and anticipated Arcadia.

Colors largely indistinguishable beneath ‘filter’ of soft yellow-orange-pinkish light of sunset. Smog clouding the city, further enhances the ganzfeld effect through pollution particles (larger than those normally present in clear air) intensely scattering sunlight. Bleak rough greyness of concrete river channel morphs into a field of gold. CUTAWAY TO NOCTU RNAL EXTENSION OF GOLDEN HOU R

scene timecode : 00:28:11

Life in 2100K: a quintessentially ‘California’ look- strong visual stimuli designed to trigger synesthesia to complete the image by feelings of the warmth of sun rays on skin, smell of ocean breeze, peaceful rustling of threes.

Vivid pink/red pigmentation indicates a layer of cirrus or altocumuls cover, which filters out more short- and mid-length waves, reducing cool color component within the scene, and reflects them back onto the city. Alternatively, similar effect can be through smog’s particles, which at ø5μm ÷ ø1μm forcefully scatter light waves, ‘dulling’ the magic hour’s color spectacle. This scenario as hinted at in the scene, yet observed (and above noted) light conditions stand contrary to this.

DISSOLVE I NTO GOLDEN LIGHT

Long shadows caused by Sun’s low altitude (6°÷ -4°), exaggerate and dramatize surrounding vertical features. FIG. 49

L.A.’s Golden Hour headshot in case study films

Collateral (2004)

case study: #2

scene timecode : 01:14:15

case study: #2

“Fruity” (The ASC, 2004) L.A.- explosion of color and chiaroscuro contrast. Medley of spectral values testifies city’s worship of light and its dynamic vibrancy on all strata of urban life.

The sky’s murky-brown tint is a visual reminder of the conglomeration’s electric output is reflected back onto itself, casting over nocturnal cosmic vault natural light show. Vapor lamp’s unencumbered light pollution effects in a ‘lid’ over L.A.- announcing its presence seen from a distant approach.

Collateral (2004)

scene timecode : 00:09:25

High-definition architectural form as a result of LED’s high CRI. Tectonic qualities and form are rendered with greater accuracy than ground level urban context at the base of the vertical structures. Low percentage of light spillage from LED technology allows designers, according to their creative vision, to show as much or as little of the structure’s daytime version. At times a building is given an entirely different composition and character while the Sun is under the horizon.

CLOSE-U P OF STREET GRID AMBIANCE

FIG. 51

FIG. 50

Drive (2011)

case study: #4

scene timecode : 0 0:10:42

case study: #4

Drive (2011)

scene timecode : 0 0:34:35

‘Rivers’ of vapor gold wind around LED illumination towers.

ARC SHOT & ZOOM-I N ON SODIUM ARTERIES

Architecture composed from vapor or solid state dots, connected by our mind’s eye to form shapes.

case study: #5

The Bling Ring (2013) The only other warm-colored sources are that of signal lighting and atop skyscrapers in Downtown.

Cool white dusting strewn inbetween the arterials attempts to compensate for twinkling galaxy overhead- invisible through the ‘suspended’ gold cloak.

FIG. 52

scene timecode : 0 0:02:14

FIG. 53

Lighting design tactics facilitate architecture’s transformation into dramatic, sexy film stars which come out to play when Sun’s altitude is below -6°. Exaggerated or softened details award even a mediocre building its 15minutes of fame!

Vista seems to be longer- apparently over the to the city’s periphery. Ink night sky comes to the fore with eradication of the yellow tint. City fabric disappears into the darkness, and L.A. seems much more like a town than a sprawling metropolis. A very moody L.A.’s headshot- there is something very neo-noir about this ‘expression’.

2100K glow at street level spills like a mist beyond curb line, engulfing everything within its beam’s reach. Textural and chromatic details of objects encountered by this light are indiscriminately filtered out through sodium vapor’s narrow spectral power, and by extension its poor Color Rendering Index.

Collateral vs. The Bling Ring aerial: looking down from above the city glow’s extent exhibits difference in chromatic and brightness values of municipal illumination. 2004 footage captures bright demarcation f street grid and its sodium vapor ‘complexion’, whilst 2013 images are mostly devoid of ‘genzfeld’-conceiving upward light spillage. Coppola’s scene is low-key and sparsely populated by light nodes.

4000K white predominates, with a only small number of sodium hotspots visible (apartment windows & presumably notyet retrofitted ornamental street lamps, as visible in the foreground bottom right corner). FIG. 54

L.A.’s Sodium Hour headshot in case study films: long shot

case study: #2

Collateral (2004)

case study: #2

scene timecode : 00:56:13

Collateral (2004)

scene timecode : 00:58:17

Frame planes merge into onepoor layering of fore-, mid- and background

ZOOM OUT & MATCH ON ACTION WITH SCEN E 00:13:21 - TH EN ACCELERATED EXTREM E CLOSE-U P & DISSOLVE I NTO SU PERSATU RATION

ZOOM I NTO TH E GLOW & 90° TU RN I NTO TH E CAR

Frank Cameron liaised with NovaTek to manufacture suitable light source for the cab’s interior. Electroluminescent Display panels were developed to create natural look whilst complementing HD cam color temperatures, and the production settled on slightly greentinted version.(The ASC, 2004)

FIG. 55

case study: #4

Drive (2011)

Low CRI impact on color contrast and effecting depth of field. Ability to differentiate between objects is impaired. Natural daytime ‘Technicolor’ city scape gave way to golden sepia incarnation of itself.

scene timecode : 0 0:13:21

FIG. 56

case study: #4

Drive (2011)

scene timecode : 0 0:30:09 Mellow aura of gilding the characters and on location scenes contrasts with volatile predispositions of the Driver and the story line. Warmly-lit sequences display elysian qualities of bliss and romantic happiness.

Rhythmic light/ shadow visual quiver. Maps time & space distance from A to B, bringing it into awareness .

Drive: only available light. Internal car shots achieve by bouncing light. The footage was shot in just over 2 weeks, forcing production to maximize municipal lighting and to avoid expenditure for which there was now budgetary allocation.

TRACKI NG SHOT I NTO TH E GLOW (ZOOM-OUT I N N EXT SCEN E TO EXOPSE LAM P) FIG. 57

case study: #5

The Bling Ring (2013)

scene timecode : 0 0:57:20

Blue of the sky and clouds clearly visible (no longer drowned out by sodium ‘ganzfeld’). Distinctly ‘cool’ hue to Central L.A. LED-lit neighborhoods. ‘Sodium hour’ monochromacy in force on HPS- lined roads, making them feel much more intimate and visually softer by reducing amount of detail being distinguished by our eyes (caused by low color contrast and lux levels produced). Despite the two contrasting areas being most likely fitted with lamps emitting similar l luminance, 4000K is perceived as brighter than 2100K.

Ornamental lamps’ retrofit is the next stage of SSL project. In the film HPS bulbs continue to cast monochromatic light turning green and red tones into variously graded mud-colored objects

FIG. 59

FIG. 58

The look which the director wanted to achieve was that of ‘natural’ night scape of the city- as seen through human eye- not that of a camera. The drive to recreate what was seen on set required adjustments to digital cameras used in filming to mitigate optical equipment’s interpretation of light incidents which were ‘burning image’ on Sony’s SXS Pro memory cards of recorded image. By the virtue of these settings being applied directly at the point of recording raw visual information, the ‘look’ was baked-in on the negative format and adjustments in post were minimal. Budgetary and aesthetic concerns drove this decision- financial and timescale constraints limited post time, whilst digital cameras, being superior to current film versions, facilitated maximum light capture in night sequences. The director and DoP’s focus would be at beginning of production to determine optimum camera settings striking balance between achieving the film’s ambiance, without comprising on loosing too much raw information (blacks had to be black enough to offset light and convey nocturnal setting, while enough light incident had to be allowed to enter the lens to render necessary contextual details in the shadow and to create depth of the image)

Only a few months before completion of Solid State Lighting project was announced, long shot vignette onto Downtown L.A. from Hollywood Hills road demonstrates juxtaposing qualities of HPs and LED light rendering the city’s portrait.

L.A.’s Sodium Hour headshot in case study films: close-up

“CAM ERAS EXTEN D OU R VISION IMM EASU RABLE, SHOWI NG US WHAT IS TOO FAST OR TOO SLOW, TOO BRIGHT OR TOO DIM FOR TH E EYE TO BEHOLD” (LONG, 1992)

FIG. 61

long exposure photograph of a dead tree in Salton City, CA, recorded Moon-lit conditions at daylight’s brightness. Where mechanic ‘eye’ of a camera exceeds capabilities of human visual receptor- through the lens we can see more detail and possibilities.

PRECEDENTS: LIGHT AS ILLUSION TOOL

FIG. 60

Thanks to light’s transformatory qualities, it is widely deployed to deceive our perceptionsgiving rise to emotions and ideas which appear to be founded on concrete evidence, when in fact it is technology in tandem with illumination that fabricates them. Adopting this view, I shall discuss a few precedents operating within light-related disciplines and their impact on sentiment rendition toward build fabric.

“IT HAS TO BE WATCH ED AS ON E WOU LD A MOVIE OR A TV SHOW” JARL MOHN, OW NS ON E OF TU RRELL’S SKY SPACES (WAGLEY, 2013)

103.

Artificial light in service of celestial sphere’s grand show: from blue-white, through ultramarine and purple, to molasses black, sky’s chroma ‘responds’ to the hue ‘framing’ it.

FIG. 62

PRECEDENT #1: ABOVE HORIZON AURAL EXPERIENCE CREATION POWER James Turrell’s Skyspace at Goldestein-Sheats Residence in The Westside hills above L.A. harnesses color perception dependency on contrast. The installation uses carefully calibrated LED and incandescent lights set into the room’s floor to produce awe-inspiring light show. In excess of 5000 units, the computer-controlled system washes entire volume of the room, which through optical mixture alters color and density of the sky observed through ceiling and wall apertures. Turrell promotes rediscovery of the beauty of natural light’s seduction and deep emotional connection, long forgotten in today’s over-saturated with recklessly illuminated reality.

PH ENOM ENON I NVOLVI NG TWO OR MORE COLOR AREAS BEI NG MIXED ON TH E RETI NA, PRODUCI NG PERCEPTION OF A THIRD COLOR.

105.

reifying phenomena: golden hour’s magic atmosphere: ANYwhere, ANYtime

vanity or synesthesia driven response?

200 yellow mono-frequency lamps manufactured golden hour

PRECEDENT #2: THE WEATHER PROJECT REIFYING PHENOMENA Olafur Eliasson’s project aimed at unearthing effects of climate on our culture. The ‘sunset’ atmosphere was augmented by sugar and water mix mist into the installation space. In tandem the two forged uncannily similar effect to Californian golden hour. The “vast duo-tone landscape”(TATE, 2013) must have felt thousands of miles away from the grey duo-tone landscape beyond the gallery’s walls. Having not experienced the piece in person, my initial assumption was that the powerful illusion of the ‘Sun’ saturating Turbine Hall was influencing enough for the visitors to forget where they were and made them behave like they would on a beachlaying down to enjoy warmth of the last rays of day, and that the simulacrum triggered hoaxed their sense into feeling physical temperature sensations as well. During the course of the investigation it has transpired however, that the leisurely horizontal positions were effect of the mirrored ceiling. Actions were effectively driven by vanity rather than atmospheric (fabricated) phenomena.

INSTALLATION SPECIFICATION: • 200 mono-frequency lights • projection foil • haze machine • mirror foil • aluminium • scaffolding •

26.7 x 22.3 x 155.44m

•

Turbine Hall, Tate Modern, London 2003-2004 (Eliasson, .d.)

FIG. 63

FIG.65: SPECU LATIVE DESIGN DIAGRAM OF

COELUX U N IT BASED ON AVAILABLE DATA

CoeLux 60

107.

For those who prefer the more dramatic slice of tropical light, CoeLux 60 offers yet additional solution in a skylight with cooler, vertical sunlight, and the maximum lumina contrast of light and shadow.

CoeLux 45

60° configuration (Tropical light): high contrast, ‘vertical’ light, cool color temperature, very bright

For lovers of the Mediterranean basin there is CoeLux 45, a skylight featuring a 45 d ceiling beam that offers an equal balance of light and shade, best enhancing the shape volumes that have historically flourished in outdoor architecture.

CoeLux 45

CoeLux 30

45° configuration (Med light): balanced luminance contrast, shallow light beam, warm color temperature, bright

For enthusiasts of Nordic countries, CoeLux 30 is available, with a 30 degree angle relativefeaturing to the horizon. It is a wall window and is capable of reproducing a warm, gra For lovers of the Mediterranean basin there is CoeLux 45, a skylight a 45 degree light. ceiling beam that offers an equal balance of light and shade, best enhancing the shapes and volumes that have historically flourished in outdoor architecture. 30° configuration (Nordic light): low contrast, ‘horizontal’ window light, the warmest color temperature option available

PRECEDENT #3: COELUX ‘SKYLIGHT’ COMMODIFICATION OF LIGHT Launched in 2014, when it won Innovation of the Yea 2014 award, the system faithfully reproduces sensation of daylight. The group of scientists who patented this interior light solution insists released marketing photographs have not CONTACT US been digitally manipulated. To date, three options are available, mimicking distinct geographical light conditions: tropical, Mediterranean and Nordic (CoeLux, 2015).

FIG. 64

lighting, and opens a new chapter for London ‘earth-scraper’ boom (aka. multi-storey residential super-extensions). CoeLux is still ‘nearly’ a perfect copy of its natural counterpart- its downfall being fixed light source position (judging from available videos, articles and images) and being (again- presumably) LED-powered it does not produce temperature sensation intertwined with experiencing Sun light.

To complete the illusion light node would have to follow Available data is scarce, but appropriate celestial path and the configuration is said to emit heat. Nevertheless, this comprise of a layer of compressed ‘skylight’ lamp being a milestone nano-particles (mostly: oxygen, in phenomena commodification, in nitrogen, carbon dioxide, argon), that it allows portability of normally present in Earth’s light experience. atmosphere, through which light is filtered (causing Rayleigh scattering associated with sky’s blue gradient). Color temperature Solutions Applications Our Company Contact Us Blog and altitude of the Sun are matched to appropriate location conditions, producing convincing effect which reportedly deceived who thewithout any pre© 2015 visitors COELUX Experience Sky warning were faced with it€ 12.465,00 IV - C.F., P.IVA, N. REGIST RO IMPRESE COMO 03181930136 - R.E.A. COMO N.300264 CoeLux Srl – Insubria University Spin-off - CAPIT ALE SOCIALE (Kessler, 2015; Jobson, 2015). The solution presents major improvement in current ‘daylight’

TO

109. Richness of the yellow lights does not impact on visibility of the sky thanks to low glare levels of the lamps.

PRECEDENT #4:

Street lights appear to be HPS butt the City Council data points to them being in fact LED or Tungsten which do not inhibit color contrast, and benefit from reduced light pollution emittance in comparison with HPS.

LED EMBRACE

VINCENT LAFORET’S AIR SERIES & LOCATION VISIT 2012 marked completion of LED street lighting implementation not only on Los Angeles but also in Vegas Baby! (City of Las Vegas, n.d.) Sin City is in high-res these days. The assault of explosive color concoction is all the more obvious. I have not seen Las Vegas in its sodium manifestation and therefore cannot voice reliable opinions on what it was like. Current municipal lighting is a fusion of fluorescent, LED and tungsten lighting. This vibrant mix paints the city as a buzzing permanent funfair. Fun is religion here, and color seems to be its signifier. With this multitude of color temperatures, lux levels and source types it is difficult to establish for certain which of the lights create any particular color rendering effect- these can hardly be assigned to only one of the lamps. What is definite nevertheless, is absence of golden glow emanating from yellowcolored lights and consequently no ‘ganzfeld’ effect.

FIG. 66

FIG. 67

FIG. 68

FIG. 69

Cobalt blue night sky above intensely illuminated city scape. SSL technology, coupled with fluorescent and tungsten sources provide municipal designers with a wide palette of rendering possibilities: from sodium hourlike thoroughfares and less dense blocks boasting ‘intimate’ soft veil of light, to expressive commercial district iridescent with full spectrum of colors with high CRI- cutting sharp forms over the clear backdrop. This is Technicolor in 4D.

Photographs shot by Vincent 111. Laforete from altitude of 3.291km at 7pm on January 24, 2015 present Vegas as it was never seen before. With sharp rendering of architecture by recently fitted LED lighting and complementing ‘traditional’ fluorescent and tungsten technologies, Sin City is a spectral carpet of light nodes. The city has embraced the ‘green’ technology with open arms- it allows it more flexibility and prowess in selling itself, in enticing visitors and affords flexibility in creating ‘looks’ as needed for any given purpose. (technical detail: Canon 1Dx & Phase One Credo 50MP body @ 6400ISO) (Laforete, 2015; Aiste, 2015) Matrix of concrete, ply and plaster illusion (more ply and plaster than concrete!). Miniature of itself, the city ‘bleached out’ by the unforgiving desert Sun can hide all its flaws, decay and cracks (not to mentioned jumble of cables running the show on a nightly basis)- the city materializes when the Sun has finished its demonstration of power. THIS is Vegas- there is no Vegas without the illusion of light. Just like in filmic L.A., rivers of gold magically appear in the middle of arid landscape. Hot-spots and light color along the streets indicate presence of HPS lights. However, minimal light spillage lead me to conclusion that this is not the case, which begs the question of why would Vegas authorities install yellow LED street lightsunless these are tungsten lamps. Laforete’s minimal color correction time (30-60sec per image) assures of veracity of his Vegas head-shots.

FIG. 70

HT

LIG

Y’

: ‘W

D OO

FL

D EN

. 73

FIG

FIG. 72: SIDE-WAYS

FLOODLIGHT ENHANCI NG ARCHITECTU RAL DETAIL

FIG. 74: HYPER-REAL

N IGHT: NO DETAIL IS I NVISIBLE, YET TH E AU RA IS U NQU ESTIONABLY NOCTU RNAL. AN EXAM PLE OF USE OF MONTAGE AN D CAM ERAS’ ABILITY TO ‘EXTEN D’ OU R SIGHT.

FIG. 75: N IGHTTIM E

DAYLIGHT TH ROUGH FRESN EL FLOODLIGHTS ELEVATED BY CH ERRY PICKERS TO A REQUIRED H EIGHT

Gigantic reflector,re-directs output from the spotlight on a cherry picker located on the opposite side of the square, softening contrast and bouncing light into deep shadows, which would cause loss of visual information being captured on ‘tape’ (which in turn limits post in achieving ‘the look’ due to noise in the darkened areas)

113.

Additional illumination of the facade from ‘Wendy’ light angled to enhance relief of the building adding visual interest. ‘Wendy’ also makes possible for the actors to be shot in movement without visible changes in light conditions as its powerful beam’ and distant location provide even light.

EVIDENCE:

NAKED HOLLYWOOD

“NOW YOU SEE ME: THE SECOND ACT” DIR.: JON M. CHU, RELEASE: 2016 Cinematography extensively uses light to aid its quest to construct hyper-reality (Pollard, 2015). A representation of something which is more real than real life allows unambiguous notion of what a director set out to convey. Eisenstein has written about this in his “The Film Sense” (1943) where through aggregation of fragmental suggestions of reality evokes an image- this is the art of montage. Set design allocates all necessary physical details within a given frame, to sustain the illusion of reality- where often what appears to be a room is in fact a ceiling-less partially enclosed factory of dreams missing the 4th wall. Gregory Crewdson mastered polemical manufacturing of miesen-scenes where not all is what it seems at a first glance. His photoshoot sets are a skilfully assembled stills where even the most minute detail serves a purpose- nothing is accidental. Los Angeles is a film set- on an urban scale. On-location shooting calls for the same rigor and lighting designers plan each

FIG. 71

scene so that there is continuity to the look and stand-in frames can be inserted where necessary in post. Site visit to life film set in Greenwich, in March 2015 revealed the abundance of light as essential tool in the process of film-making. Intensity of the lighting equipment was overwhelming. Use of Wendy lights made shooting at night without loosing precious detail and sharpness of recorded footage possible. Most likely, the Old naval Collage scenes will undergo heavy coloring and grading in post to adjust raw visual data and make the sequences more atmospheric. As it was experienced, there was a clearcut visual boundary between the ’in’ and ‘off’ camera- it felt surreal to be suddenly blinded by daylight floodlights and immense reflector bouncing Wendy light’s burning Lux output back onto the actors, softening the contrast and avoiding loosing visual information because of the surrounding darkness of London winter night. Color temperatures were a far cry from those of Los

FIG.77: CREWDSON’S LIGHTI NG

DESIGN I N PREPARATION FOR SET PRODUCTION & (FIG.78) HYPERREALITY’S IM PLEM ENTATION CAPTU RED TH ROUGH TH E 4TH WALL. COM PLEX LIGHTI NG SETU P AN D STRONG ILLUMI NATION CAREFU LLY MANAGED PRODUCE AN EPH EM ERAL DELICATE PHOTOGRAPH (PART OF “BRIEF ENCOU NTERS” SHOOT)

115. Angeles golden streets. here they were unforgiving, all-revealing and 8K definition-like. Despite illusion being the subject of the film’s plot, imagery is distinctly, what Somol and Whiting term ‘hot’ in character (2002), in that cool LED and fluorescent light temperatures dominate the look and there is little room for interpretation of what is presented. In contrast, Stanley Kubrick’s 1975 feature “Barry Lyndon” is a spectacular ‘cold architecture’ visual feast. Kubrick had NASA build a lens for him (Pollard, 2015) , which is Carl Zeiss Planar 50mm with focal length f/0.7! This was required for the candle-lit sequences and resulted in sumptuous rendering of velvety textures and deep, yet soft, saturation without losing the depth of field and dramatic ambiance. Jeremy Pollard, highlighted the importance of lenses, which he insists are absolutely crucial to the look of the film. They determine the amount of light being recorded and well as its quality and type. When questioned about impact of light on the production, he expressed his conviction in post-production’s tricks to achieve whatever was required. Still, budget-permitting, a production’s creative department would usually look to setting up the set to match the demanded end-product as closely as possible. Consequently, gels filters and enhancers are indispensable simplifying the process and allowing the dailies to resemble final visual feel. Similarly, where a ‘golden hour’ ambiance is called for, a gaffer would seek to install suitable lights, such as HPS lamps. This type of light is essential to film making, and dedicated suppliers stock wide range of lights, some of them no longer in ‘normal’ use but still in demand on sets. During all stages of the film-making concept, production, postproduction and distribution- the ‘look’ is of paramount importance. This phasing involves control checks of what is being output- first on the set’s cameras, monitors and during dailies; followed by screens in post and then on theatres and on home display. It is obvious that each of the viewing mediums is bound to have (at least slightly) different pre-sets, capabilities in image rendering. This mediation in disparity of what is watched cannot be thoroughly eradicatedto the directors’ deplore. It is accepted that this is beyond the director’s control and instead, the focus is on producing feature films which are designed for cinema screen viewing. Perfectionism and control taken to the extreme, a director would visit each of the theatres premièring the motion picture and pre-view it to ensure the screening matches his/hers creative concept to make nay necessary adjustments to allow the venue to present what was envisaged one such instance was the aforementioned Kubrick’s “Barry Lyndon” (Pollard, 2015). In home setting, films should be watched in total darkness, as per Pollard’s professional advice, to experience full impact of what the director and DoP worked hard for. In daylight, or artificial light, subtleties of color, gradient and detail are lost.

Fig. 76: Shot on Kodak Eastman 100T 5254 negative, with extremely low focal length of the huge Planar lens, low-lit interior scenes are a visual feast. Just like golden hour frames, Barry Lyndon photography’s key task was to capture subtle, warm glow and softness of detail abundance. In spite of this scene being mostly duo-tonal, due to candle light’s CRI, intricacies of the set are legible and overall adds to ‘the spirit of place’.

Las Angeles (2010) aka “L.A.”

Surviving in L.A. (2016)

East L.A. Warriors (1989)

L.A. (2000)

Only in L.A. (2013)

Taxi to L.A. (1997)

L.A. Confidential (1997)

L.A. D.J. (2004)

Leaving L.A. (2006)

L.A. Slasher (2015)

L.A. Without a Map (1998)

L.A. X (2002)

Escape from L.A. (1996)

L.A. Twister (2004)

One Night in L.A. (2012)

L.A. Story (1991)

L.A. Vice (1989)

We Are L.A.: City of Angels

To Live and Die in L.A. (1985)

L.A. Nights (2011)

(2014)

Slightly Single in L.A. (2013)

L.A., I Hate You (2011)

Inventing L.A.: The Chandlers

Disaster L.A. (2014)

Fashionably L.A. (1999)

and Their Times (2009)

L.A. Goddess (1993)

L.A. Crackdown (1988)

Love & Sex in L.A. (2010)

L.A. Streetfighters (1985)

Nobody Walks in L.A. (2015)

License to Drive (1988)

Welcome to L.A. (1976)

Eating L.A. (1999)

aka “To Live and Drive in L.A.”

Born in East L.A. (1987)

L.A. Superheroes (2013)

L.A. Ricochet (2009)

Back to L.A. (2014)

Grand Auto Theft: L.A. (2014)

L.A. Task Force (1994)

Alien from L.A. (1988)

L.A. Proper (2007)

7 Attempts to L.A. (2016)

L.A. Riots (in development)

L.A. Stories (2016)

CarLess in L.A. (2013)

L.A. Dicks (2005)

To Live & Ride in L.A. (2010)

Breakin L.A. (2012)

East L.A. (2008)

3 Days in L.A. (2009)

La La, Making It in L.A. (1979)

L.A. Dirt (2014)

L.A. Atlantis (2016)

Doing the L.A. Thing (2007)

Sex/Life in L.A. (1998)

L.A. Wars (1994)

Steve Saves L.A. (2004)

L.A. Bounty (1989)

L.A. merika (2015)

Shotgun Freeway: Drives

Made in L.A. (2007)

Why Men Go Gay in L.A. (2009)

Through Lost L.A. (1995)

L.A. Heat (1989)

L.A. Candy (in development)

L.A. A Queer History (2015)

L.A. Paranormal (2011)

Welcome to L.A. (2012)

Life in L.A: The Decision (2015)

EVIDENCE: CHASING THE SOUL Only OF in L.A. (2000) LOS ANGELES L.A. Minute (in development) L.A. on $5 a Day (1989)

“LOS ANGELES PLAYS ITSELF” DIR.: T. ANDERSEN, RELEASE: 2003

Cinematographic essay on visions of “privileged observers ‘in the industry’” of L.A. These notions, projected by the directors, become instilled in popular perception and by extension shape the way we see the cityconstructed by the movies. Andersen recognizes profound causes that failure of faithful depiction of L.A. may have on popular standing regarding the city (Waldie, 2014). As most directors shooting on location there are not familiar with the place and do not understand it, they impose their already fabricated notions about which leads to “erasure of memory [and] substitution of false memories” (ibid.). His piece was conceived as “fake documentary, or the unreliable narrator”(Interview with Thom Andersen) to form platform for voicing extreme judgements about passing aberration of his industry colleagues about the city of which soul cannot “be caught in a camera’s roving over the city’s skyline or through its streets” (Waldie, 2014).

117.

The Los Angeles Ripper (2011) Hollywood Dreams (1994) ...

The film discussed discrepancies of the city’s portrait over the years, and how it stood-in for other location, as well as places such as Shanghai having been drafted in to represent L.A. It talked about the industry’s shameless exploitation of currently ‘it’ location until there was nothing left to say about them. Where I would like to ad commentary on he industry being “founded on nothing more than projected light” (Isenstadt, 2015, p.57). De Beauvoir recognizes “electric light’s transformative potential, which aligns it with the city’s own mythology of transformation- from a desert into a metropolis and from darkened rooms into cabinets of wonders” (ibid.). He referred to Las Vegas, but the statement is as apt to Los Angeles. A city’s light signature advertises it not only as a place but also as a product [.DeLyser, Greenstein, 2015, p.101)] bringing in millions of dollars in revenue. The next evidence category discusses light as Brand L.A. central marketing tool.

U.K. – What’s Different? Drawings D i Further F h Highlight Hi hli ht Hollywood H ll d Focus F Of the 50+ drawings

analyzed, l d, many of of tthem hem h also l focused on Hollywood and the movie scene – for example drawings of example, of…

Hollywood sign Actresses (size 0) Th redd carpe The carpett Walk of Fame Film negative Di t ’ cut. Director’s t

FIG. 7918

CTTC International Research

LOS ANGELES TOURISM BY NUMBERS 2014 QUICK FACTS GEN ERATI NG EXPECTATIONS AN D PREP-CONCEPTIONS

TOURISM 2014

Highlights of the Year

Visitation • In 2014 Los Angeles achieved a record high with 43.4 million overnight and day visitors, an increase of 3.0% over the previous year. • Of those total visitors, approximately 29.5 million were overnight, up 3.4% from last year. • Domestic Overnight visitation to Los Angeles increased by 2.8%, as a record breaking 23.0 million domestic visitors came to Los Angeles last year. • International visitation increased by 5.6% in 2014, as 6.5 million foreign residents came to Los Angeles last year, an all-time high. Direct Estimated Visitor Spend (2013)* • Direct visitor spending totaled $18.4 billion in 2013, a 5.5% increase over 2012, also a record high. • Spending by domestic day and overnight visitors totaled $12.4 billion, while spending by international visitors totaled $6.0 billion. *2014 spend figures are expected to be available May 2015

International Market Trends • Mexico, Canada, China, Australia, and the UK were Los Angeles’ top 5 visitor generating markets in 2014. • For the third year in a row, China was the #1 overseas market for visitation to Los Angeles experiencing the fastest growth of any market with 20.4% more visitors over 2013.

OVERNIGHT (i) 7.2 mln

LOS ANGELES TOURISM BY NUMBERS

Lodging Performance – All Record Highs 2014 • The 2014 Los Angeles market Occupancy rateQUICK was 78.9%,FACTS ADR was $147.30 and RevPAR was $116.20. • The YOY% increase over 2014 for Occupancy was up 2.7%, ADR increased 7.9% and RevPAR by 10.8%. • There were 28.1 million room nights sold throughout Los Angeles, TOURISM 2014 an increase of 3.2% over 2013.

Highlights of the Year

$43.4 mln visitors (2014)

OVERNIGHT (d) 22.3 mln

3% $42.2 mln visitors (2013)

Los Angeles Overnight & Day Visitors

In 2014 Los Angeles Angeles achieved a record high with 43.4 million overnight and day visitors Visitation • In 45.0 2014 Los Angeles achieved a record high with 43.4 million overnight visitors, an 43.4 increase of 42.2 41.4 and day 40.4 3.0% over the previous year. 38.5 36.5 • Of those total visitors, approximately 29.5 million were overnight, up 3.4% from last year. 13.9 34.4 13.7 35.0 13.5 • Domestic Overnight visitation to Los Angeles increased as a record breaking 23.0 million 13.4 by 2.8%, 12.4 10.8 came to Los Angeles last domestic visitors year. 10.5 • International visitation increased by 5.6% in 2014, as 6.5 million foreign residents came to 25.0 Los Angeles last year, an all-time high. 29.5 28.5 27.9 27.0 26.1 25.7 23.9 Direct Estimated Visitor Spend (2013)* 15.0 • Direct visitor spending totaled $18.4 billion in 2013, a 5.5% increase over 2012, also a record high. 2008 2009 2010 2011 2012 2013 2014 • Spending by domestic day and overnight visitors totaled $12.4 billion, while spending by international Total Overnight Visits Day Visits visitors totaled $6.0 billion.

Overnight consists both Domestic and International overnight visitors *2014Note: spendTotal figures are expected to beofavailable May 2015 Source: Tourism Economics; CIC Research

International Market Trends Los Angeles Tourism Statistics 2014 Last Updated January 2015 1 Canada, • Mexico, China, Australia, and the UK were Los Angeles’ top 5 visitor generating markets in 2014. • For the third year in a row, China was the #1 overseas market for visitation to Los Angeles experiencing the fastest growth of any market with 20.4% more visitors over 2013.

INTERNATIONAL 6.2mln

DOMESTIC 36mln

Lodging Performance – All Record Highs • The 2014 Los Angeles market Occupancy rate was 78.9%, ADR was $147.30 and RevPAR was $116.20. • The YOY% increase over 2014 for Occupancy was up 2.7%, ADR increased 7.9% and RevPAR by 10.8%. • There were 28.1 million room nights sold throughout Los Angeles, an increase of 3.2% over 2013.

FIG. 80

Los Angeles Overnight & Day Visitors In 2014 Los Angeles achieved a record high with 43.4 million overnight and day visitors

45.0

$ 18.4 bln spent (2013)

36.5 35.0

10.8

FIG. 81 25.0

25.7 15.0

2008

AS I N TH E CASE OF U.K. 43.4 42.2 41.4 40.4 RESPON38.5 DENTS, HOLLYWOOD 34.4 13.7 AS 13.9 FEATU RES PREDOMI NANTLY 13.5 13.4 12.4 A SOU RCE OF FASCI NATION FOR 10.5 TH E JAPAN ESE; SEEI NG FIRST28.5 27.9 27.0 26.1 HAN DEPICTED ON 29.5 23.9 D LOCATIONS CELLU LOID ARE TH E DRIVI NG 2009 2010 2011 2012 2013 2014 REASON D TH VISIT Total BEHI Overnight N Visits Day E Visits

Note: Total Overnight consists of both Domestic and International overnight visitors Source: Tourism Economics; CIC Research

1

Los Angeles Tourism Statistics 2014

Last Updated January 2015

YEARN I NG FOR ENACTI NG EXPERIENCES SEEN ON FILM, DISCOVERI NG ‘HOLLYWOOD’S L.A

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L.A. TOURIST #1: (speaking to Visit California researcher) “you see [some things], you think ‘Wow! that’s really... it’s actually real’. It’s not something you just see in photographs or on film- these things exist” (Focus Group Video,2007)2 BRAND: L.A. With average of 292 sunny days, annual temperature range between 57F- 75F (14C- 28C) and only 15” (38.1cm) of participation the state’s weather comes as near to perfect as possible. Ocean breeze, reliable sunshine and low humidity come together as an extremely marketable package, which the tourism-dedicated website Discover Los Angeles (2015)1 describes as “there [being] no unpleasant seasons in Los Angeles”. It is not surprising then that the County’s fastest expanding industry is Tourism and hospitality (including Entertainment and Real Estate)(Discover Los Angeles 2015)1. The clever folks at Los Angeles Tourism & Convention Board are all too well aware of what their County has to offer and they know their market. In 2007 Visit California commissioned the most comprehensive market research since 1997 to gain better database of qualitative evidence. Quantitative statistics are in themselves very revealing: $18.4bln in revenue from 42,2mln visitors;s spending in 2013. Last year this overnight & day visitation figure rose by 3%, and revenue figures are due in May 2015 (Los Angeles Tourism & Convention board, 2014, p.1). The department’s mission “to advance prosperity of L.A.’s visitor economy [...] by sales and marketing to the principle segments of both the domestic and International travel trade and consumer” (Discover Los Angeles 2015)2 is clearly effective. Large portion of the revenue is generated from the celebrity culture which delivers millions of people annually to the Factory of Dreams. At annual value of $48bln in direct sales, L.A. County is the world’s principal provider of entertainment (Discover Los Angeles 2015)2. L.A.’s film industry is the key brand-making platform for California (Smith & Company, Mering Carson. 2007, p.12), and the aforementioned quantitative research confirmed this by the respondents: FIRST-TIME L.A. VISITOR: (speaking to Visit California researcher) “seeing the American way of life. I’m seeing for the first time the things I saw in the movies (Focus Group Video,2007)1 L.A. VISITOR #2: “The best part of this trip [...] When I got to really see with my eyes these place I’d seen on TV, I was totally awestruck!” (Smith & Company. 2007, p.15) PAST L.A. VISITOR: “We’ve even drifted through all of those immortalized places seen on the big screen i.e. Sunset Boulevard, Rodeo Drive, Melrose Avenue, and, of course, Beverley Hills! Whilst in L.A. I shall never forget exiting from LAX airport in an enormous and outrageously vintage convertible car, the thrill of the wind in my hair and sunshine! We were utterly star struck!”

BY ON E FIG.82: A DRAW I NG

THE GOAL IS AMBITIOUS, BUT SO ARE WE.

P OF U.K. FOCUS GROU PTU RES CA S NT DE ON SP RE E LOS TH E ESSENCE OF TH & GOLDEN RF SU E AN GELES: TH TH E MOST HOU R. TH ESE ARE PICTED I N POPU LAR SIGHTS DE PORTED EX D AN S TH E MOVIE E GLOBE. TH ROUGHOUT TH

CTTC International Research

NU E 2014 CITY REVE UR HO C GI MA R: REPORT COVE ILIZES E REPORT UT FRONTI NG TH OF TH E ER W PO SELLI NG ROUGH RECOGN IZED TH . M ARKETI NG N. PH ENOM ENON SU E TH : ON IC E TH E USE OF TH

FIG.83: LATCB

SI NCE 1920S ELABORATE LIGHT DISPLAY HAS BEEN AN ESSENTIAL PART OF SIGNALLI NG TO TH E WORLD N EW HOLLYWOOD MOTION PICTU RE PREMIERE. “TH E PREMIERE TRANSFORM ED TH E SIM PLE N ECESSITY OF LIGHTI NG AN AREA ST N IGHT I NTO AN ECSTATIC SYMBOLIC GESTU RE. I NTENSE SPOTLIGHTS,FOCUSED ON A TH EATRE’S FORECOU RT, TRANSFORM ED TH E SPACE I NTO AN EXOTIC SETTI NG, OTH ERWORLDLY TO SPECTATORS”. EXAGGERATI NG TH E BLI N DI NG EFFECT W ERE CAM ERAS’ FLASH ES, WHICH FIRED “TH E BLI N DI NG STACCATO OF PHOTOGRAPH ER FLASH ES”.[54]. SEARCHLIGHTS SCOPED TH E MIGHT SKY,AN NOU NCI NG ARRIVAL OD HOLLYWOOD’ S LATEST ILLUSION ACT. (ISENSTADT, 2015, P.53)

“TH E “BRIGHTER TH E LIGHT TH E BETTER FOR TRUTH,PU RITY AN D HONOR”- PREACH ED ADVOCATES OF ELECTRICITY. THIS CLAIM COU LD NOT STAN D I N MORE DIRECT CONTRADICTION TO HOLLYWOOD’S TECHN IQU ES I N ACHIEVI NG ILLUSION OF LA TO EXACTLY TH EIR N EEDS. HOW EVER, EVEN SO EARLY ON PEOPLE’S “DISCUSSIONS W ERE BUOYED BY A SENSE OF WON DER AT ELECTRIC LIGHT’S TRANSFORMATIVE AN D IMAGI NATIVE POW ER”. ACCOU NTS OF LA “RE-CONSTRUCTED” BY LIGHT PAI NTED IT AS HAVI NG “ACQUIRED “MAGICAL APPEARANCE ’( FELDMAN I N ISENSTADT.2015, P.52)

17

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( Smith & Company. 2007, p.16) Not surprisingly, Hollywood anecdotes indicated that it had more bearing on decision to travel to Los Angeles on overseas markets. Presumably, this is because our (European in this context) notions are often limited to biased personal stories from friends and family, and formed on the basis of ‘celluloid L.A.’ and entertainment media influence (Smith & Company. 2007, p.16). American market, having greater accessibility to the location are in a better position to verify the idea disseminated by the film industry- and often discover just like I have, that Venice Beach is nowhere near Hollywood Hills or Long Beach- contrary to what Cobra (1986) would make us believe. Japanese focus group implied somewhat surprisingly that despite Hollywood imagery being uniformly accessible to all- regardless of culture and language, generates varied (or incomplete) responses. This nationality readily accepted icon and stereotypes contained in the movies but were indifferent to the hospitality of real Angeleñosmost likely due to the language barrier. (Smith & Company. 2007, p.23) ‘Golden State’ notion came through strongly in the qualitative research (Smith & Company, Mering Carson. 2007, p.13)- sunset/ sunrise light being synonymous with California- and Los Angeles itself by extension (Smith & Company. 2007, p.17) and Sun “seen as an icon” (Smith & Company, Mering Carson. 2007, p.9). Beyond natural phenomena, electricity’s seductive power is documented was documented in Los Angeles Times’ 1907 article describing opening of Bullocks Department Store which had installed a rooftop illumination sign: “people who may have been on the streets with no intention of going to the opening, naturally gravitated toward the blaze of light [...]. Although nothing was available for purchase that first night, thousands of people came to see the lights” (Isenstadt, 2015, p.52) Exploitation of light to influence people’s decisions and promote business has since evolved into a sophisticated, if mischievous, independent design industry. Its role in manipulating a city’s depictions has led to “misrepresentations [...] sometimes [...] wilful, sometimes merely expedient, and sometimes [hallucinatory]” (Waldie, 2014). Since the early pioneering days in 1907 car culture continued to be embraced and led to the city developing an impressive and vast network of freeways. Initially linking “light ephemeral centres” popping up in various places across the city fabric, and by 2000 becoming prominent enough for Simon de Beauvoir to compare them to “big glowworms” slithering across the “huge,silent fairyland”(Isenstadt, 2015, p.56). City authorities were slow to recognize the importance of electricity’s output color temperature but the mayor Eric Garcetti has turned a corner and recognized that the network of concrete ‘tape’ is “largest public asset forming and reflecting the character of out neighbourhoods, our people, and our city” (Dwell on Design 2015). This acknowledgement means there is a chance for the street network’s characteristic grid to further add to the marketing tool kit. After all, each conurbation has its own unique glowing matrix of road network and nocturnal architectural electric signs (buildings), becoming a mega-sale electric sign of itself, add color temperature variation and it becomes inseparable tie “to landscape and place, helping shape place identities” (DeLyser, Greenstein. 2015, p.103). Initially, wide use of neon gave Los Angeles red urban ‘rivers, which by 2012 turned into golden, red and few blue nodes. Nowadays, this nocturnal geography has cloaked itself in royal blood’s shade.

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FIG. 84 RELATIONSHIP BETWEEN THE SODIUM (aural L.A.’s vibe) & LED (Los Angeles proper)

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FIG. 84 RELATIONSHIP BETWEEN THE SODIUM (aural L.A.’s vibe) & LED (Los Angeles proper)

RESOLUTION

FIG.85: TH E STRIP, LAS VEGAS (2013)- A SECTION OF

CENTRAL STRETCH IS SOAKED I N ‘COOL’ SODIUM-H U ED LIGHT, CONTRASTI NG WITH TH E EASTERN EDGE, WHICH IS HIGH-DEFI N ITION- ARCHITECTU RE IS ‘HOT’ , LEAVI NG LITTLE ROOM FOR I NTERPRETATION. M U LTILAYER OF TH E CITY IS HIGHLIGHTED I N TH E LED LIGHT, CREATI NG AN ENGAGI NG VISTA, WH ERE ARCHITECTU RAL FORM AN D SPATIALITY COM ES TO TH E FORE. TH E TWO PHOTOGRAPHS OF ADJACENT PARTS OF TH E STREET PRESENT J UXTAPOSITION OF SPIRIT OF PLACE GEN ERATED BY HPS (TOP) AN D LED (BELOW) LIGHT. (FIG.86)

129. ANTI-THESIS The city’s character, politics and geography dictates the municipal lighting scheme and look. Light does not create “spirit of place”, but it is the place that drives municipal lighting design. In this view, light merely conveys the ‘sense of place’ but is not an integral part of its formation process. Undeveloped countries, or even Los Angeles itself before the arrival of electricity, could serve as an example of this. The town had an ‘identity’ even when it was plunged into darknessyet, demonstration of it was limited to daytime hours. At night, without street lights, all cities displayed a very similar ambiance mostly an extension of their sunlit hours’ ‘face’- but perhaps more illicit and threatening. Electrification allowed for daytime ‘head shot’ to be extended beyond sunset undisrupted. However, the fact that without street lighting city fabric tended to take-on a darker persona, points to the initial hypothesis being correct, namely: lighting does create city’s identify- not the reverse. It has to do with human psyche and biology, dependent on light to able to ascertain and evaluate the surroundings, based on visual stimuli. Once this ability is inhibited we tend to suffer from fear and uncertainty and the mind in over-drive mode completes the (un)seen environment- usually with partial representation of normally suppressed anxieties.

FIG. 87

131.

PLOT SYNOPSIS & DIRECTOR’S COMMENTARY

Preceding sections described golden and sodium hour light as indispensable transformative agent not only for the “business called show” but more importantly, for our daily lives. The ensuing closing part of the act discusses the impact of gathered evidence on the questions of light being pivotal to evolving headshot of Los Angeles and its ramification on our sensibility towards the presented city. Cinematography’s incessantly (re)constructs of the city of Los Angeles to suit their current (short-lived) agenda. Notably, it automatically reflects the creator’s own preconceptions about it- which most likely are already biased by what their own interpretations as to what ‘real’ L.A. is, based on seen imagery. Paradoxically, there is not such thing as ‘real L.A.’ so the chase is futile. ‘L.A.’ is forthcoming about it being a celluloid facsimile of Los Angeles, a mirage. This is an endless cycle, since with every (re)production of the City on film, wider public must evaluate how truthful is the photography and how genuine the creators agree about their product. Adapting the view that Hollywood is per-occupied with entertainment value, it is plausible to assume light’s casting for illusory role in rendering architecture to a required specification will progress. After all, DoPs target creation of architecture of space over architecture of form, to paraphrase Turrell. With continued

technological development in the field of cinematography, such as increasing speed of film (which, in conjunction with a lens, determines amount of light captured), methods of recording visual information (already converted from analog to digital), not withstanding fast-paced advancement in lighting technology itself Los Angeles is bound for re-branding though ‘face-lifts’ on an almost annual basis- at least on the reel. Exemplars of diverse approaches to capturing and conveying lightthe key cinematic case studies- reveal municipal light system transformation. Drive: some LED light crept in from distant location, where retrofitting was ongoing or completed. Winding Refn chose Bunker

Hill area precisely because of its ‘typical’ Los Angeles dark side, which was not yet given a high-definition, polished rendering of polychromatic diode light. The film’s shooting marked half-way point in Bureau of Street Lighting’s project. Gradual desaturation of L.A. head shot of golden tones, in favor of the blue spectrum component, delivered through 4000K LED lamp,s is mapped

in stills from Collateral, through Drive to The Bling Ring. Comparing Coppola’s 2013 (post-completion) imagery with that of Mann’s (pre-dating the transformation by 5 years) chromatic differences are explicit. In CRI65 light, build environment backdrop reads like a restraint, cool (in cultural meaning, not in Somol & Whiting’s terminology) character of the story. Ephemeral nostalgia of sodium hour has vaporised, and even though architecture is rendered more truthfully to its daytime material and formal language, ‘the Los Angeles look’ seems to be now ring-fenced by Sun’s ascent over the horizon. Disassembling photographic evidence to understand it from a technical point of view, has altered my position regarding necessity to preserve the sodium hour. In retrospect, it transpired that I have fallen under the magic hour’s spell and my per-conceptions of Los Angeles- the ‘known’ and loved portrait of it, basking in soft, golden hues. Embarking on this journey, it was my conviction that HPS

FIG.88

FIG.89

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lighting is the most suitable illumination type for the Big Orange. It supported my fantasies about it, represented all lifestyle and architectural aspirations- from balancing life/work life, enjoying year-round sunshine and sea, and finally having an opportunity to reside amongst (if not in!) Modernist masterpieces. The City seems to have acted as a depository of my dreams- used openly and extensively during the times when British weather and its prohibitive nature on my lifestyle desires, became depressing. The very brief visit to the City of Angels seemingly confirmed my notions, further ingraining them without critical analysis. I do not feel guilty about it- the experience was beyond enjoyable and one the best times of my life. However, the skewed perception of the city became apparent along the course of this study. Retracing the empirical evidence led to the recognition that in fact,my memory of street lighting and its conditioning of architecture in my eyes, is not a vivid one. Parallel to filmmakers’ aim to ‘blend’ location of the shoot into an unnoticeable ‘white noise’, BsL had done their job well and made be forget about seeing light. Instead, the attention was purely on the subject being illuminated. Consulting

current Angeleño was to verify my assumptions- and it did not disappoint. Dhaliwal’s (2015)remark on downtown not feeling like “Hollywood” because of its bright cool-white night-time tint, mirrors my initial skeptical feelings about LEDs being well-suited to the sustainability of Los Angeles’ success. Moreover, she confirmed that both herself and some of her friends who moved to the city, were drawn by the enticing depictions of city landscape and lifestyle sold by corporations benefiting from tourism. Returning to the subject of experiencing architecture and sodium lamps being the most beneficial to L.A.’s character, example of Vegas has been discussed. It is beyond any doubt that proliferation of electrical fittings is THE tool of seduction and the identity itself in this instance. Reviewing photographic database from the visit, a few duplicates of the same view were located. With depth of focus changed, a dramatic juxtaposition of color conditioning the ambiance of City of Sin’s vignette is apparent. Essentially, LED version presents the actual lighting scheme, and feels ‘right’ in that superb color contrast enables one to distinguish fine detail of Venice’s replication. Yet, there is something irresistible about the sodium hour lookalike Version.

Judging from the feedback regarding the two types of lamps, the opinions are divided and reflect personal sensibilities (Appendix 4). It can be reasoned that the preferences and opposition to L.A.’s head shot metamorphosis arises from habit and comforting nature of a city scape in ‘known’ rendition. The retrofit project brought about a sensational change in the was city inhabitants understand their environment, and how much of it they can perceive. Having said that, it can be seen that this change is obvious in photography (still and moving), although not always readily recognized by the people. Consulted L.A. residents required prompting and outlining the matter of HPS to LED shift. Consequently, it suggests that we are to an extent oblivious towards illumination treatment of the city fabric, and without a fore-warning only the most visual persons are likely to recognize the change. By extension, it can be argued that the hypothesis posed at the beginning of this paper placed too much importance on the impact of light. However, the defense is that where one is intimately familiar with urban geography their hometown, color contrast, color temperature and lumen output is unlikely to significantly affect their attitude toward the city. When it does have a profound implications, is in the situation where that very urban conglomeration is learned only from a remote location, without means of verifying the presented aural character of a place.

135.

Additional layer to the discussion is that of first impressions. It is a widely known facts that human opinion is formed within the first few seconds of being faced with a new Individual (here- Los Angeles). It is therefore paramount, for the lighting design to evoke the desired character of the city’s identity from its inception- second chance for re-introduction are rare and far between. Ultimately, I believe Solid State Lighting project is going to change our perception of what ‘true’ nocturnal L.A. Appears like. Just like we have adopted its previous incarnations of gang-ridden film noir, where the Hills were peppered with alluring femme-fatals, who with introduction of Technicolor transformed into fun-loving shift dress-clad dolls partying in hedonism-fostering Modernist residences of the Sheats or the Stahls alike.

Within the next three years the (un)familiar view of the city is going to undergo even more permanent transformation, as a consequence of the updated Firefighting Department law , which last year paved way for accelerating process of Los(t) Angeles (Berg, 2014). Not has the color temperature re-drawn the city, but now the skyline has a chance to become a landmark. It is expected that the freshly-vacated roof-top real estate is going to follow NYC’s example and become a twenty-first century version of the hanging gardens. Penthouses, swimming pools and communal amenity spaces for the high-rise condo will be replacing outdated helipads. These changes are unlikely to have any effects on the street-level vignettes, and only a minor shift in long-shots from the privileged hills. What is certain nonetheless, is that the enthusiasm and long-restrained visions of th architects are going to find their release in skyscrapers shooting into the sky without sudden anticlimax termination at a flat parapet wall. Angel’s view of the city is going to be given a ‘landmark treatment’, striving at turning this “one of the most unrecognizable” (Dhaliwal, 2015) skyline into a hallmark. “Hollywood” better watch out!

PRODUCTION APPRAISAL Of course it is impossible for me to enter into the degree of detail I would like to explore in this feature, and the following offers a glimpse at ‘behind the scenes’ evaluation and reasons for the covered and chosen extent of presented discussion. The subject of light has been present in my capacity as a designer most noticeably since entering into professional employment after completing RIBA Part I. Working on ‘live’ projects involved liaison with lighting designers and growing to appreciate the influence of light on architecture. This project presented a unique opportunity to deepen this knowledge but I could have never predicted how allconsuming this subject would become. Over the months it has turned into an almost obsessive fascination, which created the first obstacle in formulating this piece: incessant need to find out more information on this multi-faceted issue. In order to make deductions and speak with a degree of expertise, the subject matter imposed understanding of physical, physiological and psychological foundation of human responses to light. Holistic interpretation required inclusion of technological information on light sources and the latest development. Subsequently, desktop (and couch) study of Hollywood’s filmography of its host city was conducted to identify the most poignant instances of use and visual archiving of the magic hours. In contrast, to set the stage for speculation, I looked to abstract use of light in art as means of uncovering new ground and possibilities for practical use interpretation. This wealth of information demonstrated a major threat to successful completion of the research

FIG. 90

137.

phase. Variety of information sources and the combination of required qualitative and quantitative data had to be synthesized for validation purposes of the hypothesis. From the early stage, time-constraints were a major concern, and in constant conflict with my internal instincts to follow the passion and curiosity. Controlling them is an ongoing struggle, but scripting “Evolution of L.A....” has been invaluable in terms of developing my critical choices skills and tactics. It must also be acknowledged, that ‘head shot’ study is incomplete and would benefit from broadening to paint a more comprehensive picture of the historical evolution. Lastly, perpetual development of the subject matter made the study vulnerable in terms of being classed as current. Only a few days

before completion deadline for the thesis, a new discovery has been announced in the discipline of light technology- a graphene light bulb (BBC, 2015). Regrettably, analysis of this new product is not possible at this stage f the paper’s development, but it will be some years before it has a chance to be implemented as street lighting and influence L.A.’s head shot further. On this basis, it is not considered a significant loss to this discussion but it should rather be understood as signaling of potential expansion on the topic in future. The research process became a journey of discovery of aspects of the consumed culture which did not employ significant manipulation tools on the face of it. Having dissected the nature of light, Hollywood’s techniques and illusions, my experience of watching films is now through a very different eye. I am seeing myself seeing. Prior to the research, my attitude was somewhat naïve- purely hedonistic. The setting went unnoticed (which directors argue is ‘a job well done’, as if viewers focus attention on the backdrops, then the director failed at his job). Nowadays, analysis of tactics used, and understanding better personal reactions have become integral part of the experience. Admittedly, a degree of enjoyment is missing because of this. I am significantly more critical towards images to which I am exposed, but still hold fascination for the city and its depiction- how widely varied it is, flexible, and accommodating daydreaming.

FLASHFORWARD It is yet too early for a decisive conclusion as to the future of film industry in Los Angeles and how the new infrastructure may affect the city and its inhabitants- or economy. Available tourism level, revenue and crime numbers do not provide concrete enough prove of how, and if, the new blue glow impacts the city so used to being bathed in golden glow. There is even a bigger challenge in ascertaining how L.A.’s head shot count will respond to the change. It is tempting to state “one is for certain, Los Angeles will never be the same again!”. (Un)fortunately omnipresent photography and software supporting it, facilitate infinite possibilities in rendering the head shot for commercial and private marketing purposes. Below is a shortlist of speculative stories taking place in LED L.A, reflecting anticipated shift in narratives and plots of upcoming Hollywood releases.: 1. Mass insomnia descending on the metropolis, as circadian sleep pattern is disturbed by 4000K light filtering into dwellings. 2. Film industry leaving the city for cheaper locations with HPS lamps still in place. (A purpose-built sodium-illuminated Studio City Thamesmead being one of the destinations)

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3. Marked shift in attitude towards the city, as all its cracks and decay are clearly seen in the crisp, well-rendering LED illumination. Visitors and residents alike, no longer ‘suffering’ from retinal bleach caused by sodium ‘ganzfeld’, re-discover L.A. as it is. 4. New Golden Age of Hollywood: ideal climatic conditions, unlimited resource base on hand (both the best skilled and trained specialists, as well as equipment and facilities), complimented by high CRI65 spec solid state urban lighting allow film crews bigger flexibility in filming locations. Less supplementary set lighting is required, and post-production demands less color-correction, saving time and budgets. Wider light spectrum streamlines adding or subtracting colors into the frame. Sadly, noir genre is forced to film within backlots as the ‘seedy’ characters struggle to catch the perfectly moody and threatening balance of chiaroscuro on their faces when on location on the city streets. 5. Los Angeles becomes the new Tokyo- Blade Runner world of intense 24/7 materializes. With elevated perceived safety levels on the streets illuminated by LED lamps, drivers can see further ahead and clearer reducing number of collisions; pedestrians’ fears of roaming the streets bleached with sodium lamps have vanished. One can see clearly and far into the distance. Dwellers use the streets to a greater extent, with crime levels dropping City of Dreams forgets about dreaming. Daylight levels can now be provided non-stop. The city thrives on the influx of revenue, accommodating all types of shift work/ play times. Vegas descends into ruin.

6. Research into responses of the color blind people or the elderly (whose color discriminating capabilities plummet with age) (Wolinsky, 1999) to Hollywood’s creations of L.A.- whether there is correlation between those exposed to the same depictions of the city gives to rise to correlating notions about the subject.

7. Venice is one example of a city built on fortunes ‘made on’ color. In modern day advertising industry harnesses the “psychological influences of color” (Wolinsky, 1999) as consumer manipulation tool, generating billions of dollars in direct and indirect revenue. Popular culture, of which cinematography is a forerunner, unashamedly taps into this. Is it unimaginable that Los Angeles could pursue ceaselessly its ‘special light’ brand icon- become the City of Golden Light 24/7- a mega scale Ganzfeld?

Olafur Eliasson’s Suncity project dealt with a relatively small scale intervention while Manhattanhenge encompasses the entire (mainly southern end) island- both in celebration of the sunpath. Precedent in a city designed in worship of the golden hour light? Could it be done, could the ‘perfect’ City of Golden Hour be built.

FIG. 91

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SEQUEL CONCEPTS Thamesmead- dedicated golden hour film studio where the real estate is given full acknowledgment as the lead character’s (magic hours) supporting role. In true cinematographic style, all necessary infrastructure is conveniently located- extras live on set, lending a degree of realism to the films, but can be re-homed to the production village located off the main shooting studio location of Southmere area. Southmere’s Modernist heritage is reminiscent of Los Angeles’ embrace of the movement and with the new Californian magic hour at the cinematographer’s disposal, this most beautiful and sought-after time of day no longer impinges on production timescales. Thamesmead becomes anew incarnation of L.A-, L(a)st Angeles. It is dedicated to preserving the revered phenomena, so crucial in evoking true California Dreamin’ spirit. As part of the deign team’s pitch to secure the commission for L(a)st Angeles™, an installation will be completed showcasing the past and current street lighting conditions in Los Angeles. A pair of light boxes emanating HPS and LED light, which renders an iconic Angel’s vista over the city. In this way, the two can be compared with ease and benefits of each in rendering L.A.’s architecture head shot will be demonstrated.

FIG.92: LIGHT I NSTALLATIONS: HPS & LED LIGHT BOXES (ABOVE; I N ITIAL CONCEPT DESIGN FOR TH E I NSTALLATION MAPPI NG EVOLVI NG STREET LIGHTI NG TECHNOLOGY AN D COLOR TEM PERATU RE (BELOW) (FIG.93) AUTHOR’S SKETCH ES

ANY RESEMBLANCE TO REAL PERSONS, LIVING OR DEAD, SHOULD BE PLAINLY APPARENT TO THEM AND THOSE WHO KNOW THEM, ESPECIALLY IF THE AUTHOR HAS BEEN KIND ENOUGH TO HAVE PROVIDED THEIR REAL NAMES- AND SHOULD BE CONSTRUED. ANY RESEMBLANCE TO A REAL LOCATION IS INTENTIONAL, THOUGH ON OCCASION THE AUTHOR HAS TAKEN CERTAIN, VERY SMALL, LIBERTIES WITH DEPICTION, BECAUSE THAT IS HER RIGHT AS AN AMERICAN. ANY RESEMBLANCE TO TRUE FACTS IS A MIRACLE.

MOTION IMAGES Limey (1999) Film. Directed by Steven Soderbergh. USA: Artisan Entertainment Los Angeles Plays Itself(2003) Film. Directed by Thom Andersen. USA: Thom Andersen Productions. Light, The Universe And Everything (2004) Documentary TV series. Light Fantastic, ep.4. Directed by Jeremy Turner et al. UK: BBC Four. Days of Heaven (1978). Film. Directed by: Terrence Malick. USA: Paramount Pictures. A Single Man (2009)Film. Directed by: Tom Ford. USA: Fade To Black Productions. Collateral (2004) Film. Directed by: Michael Mann. USA: Paramount Pictures. The Bling Ring (2013) Film. Directed by: Sophia Coppola. USA: American Zoetrope, NALA Films.

Focus Group Video (2007) Market research video recording.[Timecode: 00:00:32]. [Online]. USA: Visit California, Available from: http://industry.visitcalifornia.com/ Find-Research/California-Market-Research/ [Accessed: 03 March 2015] 1

Focus Group Video (2007) Market research video recording.[Timecode: 00:07:28]. [Online]. USA: Visit California, Available from: http://industry.visitcalifornia.com/ Find-Research/California-Market-Research/ [Accessed: 03 March 2015] 2

Cobra (1986) Film. Directed by George P. Cosmatos. USA: Warner Bros. *REV. 05.04.2015 (reference details added on 05.04.2015)

Light Painting The Sydney Harbour Bridge (2013) Installation recording. [Online]. Global: The Creators Project. Available from: https://www.youtube.com/ watch?v=VGZmZw826TM [Accessed: 05 November 2014] Incredible Light Art. Kinetice Art Fair 2013 (2013) Documentary. [Online]. Global: The Creators Project. Available from: https://www.youtube.com/ watch?v=3toJ9PwF3ss [Accessed: 05 November 2014] Massive Lightbox Behaves Like It’s Alive. Origin by UVA & Scanner (2013) Documentary. [Online]. Global: The Creators Project. Available from: https:// www.youtube.com/watch?v=bIAlS00cutg [Accessed: 05 November 2014] Amazing Light Installation Turns You into a Bird. Chris Milk ‘Treachery of Sanctuary’ (2013) Documentary. [Online]. Global: The Creators Project. Available from: https://www.youtube.com/ watch?v=I5__9hq-yas[Accessed: 05 November 2014] COLOMINA, B. (n.d.) The Total Interior Playboy Architecture 1953-1979 [Online Lecture ]. Het Nieuwe Instituut. Available from: https://vimeo.com/69680750

[Accessed: 15 November 2014] James Turrell: The Light Inside (2013) Exhibition trailer. USA: Museum of Fine Arts Houston. Available from: http://www. mfah.org/exhibitions/past/james-turrellretrospective/ [Accessed: 17 November 2014] Art Talk: Turrell Trifeca (2013) Online talk. USA: Google Art Project. Available from: https://www.youtube.com/ watch?v=0jrBYNyG9zw [Accessed: 14 November 2014]

STILL IMAGES FIG.1 ‘Hollywoodland’ sign and L.A. view from behind ‘Hollywood’ sign- collaged by the author: http://forum.skyscraperpage.com/ showthread.php?t=170279&page=531 [Accessed: 04.03.15] + http://images.smh.com. au/2013/06/22/4511702/SAT-hollywood-signwide-20130622122622928556-620x349.jpg [Accessed: 04.03.15] Fig.2 Author’s work based on Julius Shluman’s Case Study House #22 photograph, 1960.v Fig.3 Author’s work based on Florian Holzherr’s photograph of Afrum by James Turrell. [Online] Available from: http://www. abc.net.au/news/2014-08-28/afrum-jamesturrell/5703008. Accessed: 28 October 2014 Fig.4 Author’s own work. Fig.5 Author’s own collage of sourced imagery. Fig. 6 Author’s work based on: Arken Museum of Modern Art, Din Blinde Passager by Eliasson Olafur. Photo: unknown [Online] Available form: http://olafureliasson. net/archive/artwork/WEK100196/din-blindepassager#slideshow. [Accessed: 05 November 2014] Fig.7 Author’s work based on: Los Angeles County Museum of Art, Breathing Light by James Turrell. Photo: Florian Holzherr [Online] Available from: http://www.lacma.org/art/ exhibition/james-turrell-breathing-light. [Accessed: 04 November 2014] Fig. 8 Author’s work based on: image by Philippe Rahm architects, Mosbach paysagistes, Ricky Liu & Associates. Architectural Design. Future Details of Architecture. Vol.230, No4 (July/ August 2014), pp.7879. Fig. 9 Author’s own work Fig.10 Author’s collage of Powers of Ten (1977). Directed by Charles & Ray Eames. USA : International Business Machines, Office of Charles & Ray Eames. Fig. 11 Blow-Up (1966) Film. Directed by: Michelangelo Antonini. UK: Bridge Films, Carlo Ponti Production, MGM Fig. 12 Author’s work based on sourced script image. Fig. 13 Author’s own work. Fig. 14 DAILY SCRIPTS. Collateral screenplay script. [Online]. Available from: http://

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www.dailyscript.com/movie.html [Accessed 27 March 2015]. Fig. 15- 19 Author’s own work. Fig. 20-24 Author’s own work Fig.25 AMARAL DALTON, J. (2014) Fig. 26 ANON (n.d.) ‘Angel’s view’ over Los Angeles [Online].Available from: http:// ciencia.ara.cat/ Fig. 27 ANON (2008) Headshots of Lucy Davis [Lucy’s private digital collection] Fig. 28-36 Fig. 37 Author’s own work based on: IMDb (19902015) Available form: http://www.imdb. com/?ref_=nv_home [Accessed 15 December 2014]. Fig. 38 CINETROPOLIS (2013) Days of Heaven still [Online]. Available from: http://cinetropolis.net/wp-content/ uploads/2013/03/days-of-heaven-5.jpg [Accessed: 30 March 2015] Fig. 39 BEEBE, D., CAMERON, P. (2004) Still from Collateral [timecode: 00:36:31] USA: Paramount Pictures. Fig. 40 GRAU, E. (2009) Still from A Single Man. USA: Fade To Black Productions. Fig. 41 SIEGEL, N.T. (2011) Still form Drive [timecode: 00:09:29] USA: Film District. Fig. 42 BLAUVELT, Ch., SAVIDES, H. (2013) Still from The Bling Ring [timecode: 00:00:37] USA: American Zoetrope, NALA Films. Fig. 43 ACESHOWBIZ (n.d.) Still from A Single Man. Available from: http://www.aceshowbiz.com/ movie/single_man_a/ [Accessed: 29 March 2015] Fig. 44 TINYPIC (n.d.) Still from A Single Man. Available from: http://tinypic.com/view. php?pic=dnc5q9&s=6#.VR4Dcx6_tNM [Accessed: 29 MArch 2015] Fig. 45 & Fig. 46 Schaffer residence photograph edited by the Author. Available from: https://www. pinterest.com/pin/463026405410646302/ v [Accessed: 29 March 2015] Fig. 47 BEEBE, D., CAMERON, P. (2004) Still from Collateral [timecode: 00:04:10] USA: Paramount Pictures. Fig. 48

(n.d.) Still from A Single Man. Available from: http://2.bp.blogspot. com/_nyFqUzEtMqo/TC7IBHshbiI/AAAAAAAAB_Q/ pSBbKNm_5q4/s1600/SingleMan03.jpg [Accessed: 29 March 2015] Fig 49 SIEGEL, N.T. (2011) Still form Drive [timecode: 00:28:11] USA: Film District. Fig. 50 BEEBE, D., CAMERON, P. (2004) Still from Collateral [timecode: 01:14:15] USA: Paramount Pictures. Fig. 51 BEEBE, D., CAMERON, P. (2004) Still from Collateral [timecode: 00:09:25] USA: Paramount Pictures. Fig. 52 SIEGEL, N.T. (2011) Still form Drive [timecode: 00:10:42] USA: Film District. Fig.53 SIEGEL, N.T. (2011) Still form Drive [timecode: 00:34:35] USA: Film District. Fig. 54 BLAUVELT, Ch., SAVIDES, H. (2013) Still from The Bling Ring [timecode: 00:02:14] USA: American Zoetrope, NALA Films. Fig.55 BEEBE, D., CAMERON, P. (2004) Still from Collateral [timecode: 00:56:13] USA: Paramount Pictures. Fig. 56 BEEBE, D., CAMERON, P. (2004) Still from Collateral [timecode: 00:58:17] USA: Paramount Pictures. Fig. 57 SIEGEL, N.T. (2011) Still form Drive [timecode: 00:13:21] USA: Film District. Fig. 58 SIEGEL, N.T. (2011) Still form Drive [timecode: 0030:09] USA: Film District. Fig. 59 BLAUVELT, Ch., SAVIDES, H. (2013) Still from The Bling Ring [timecode: 00:57:20] USA: American Zoetrope, NALA Films. Fig.60 SCALZO, J. (2012) National Geographic. Visions of Earth. (May 2012)[Online]. Available form: http://msnbcmedia.msn. com/j/MSNBC/Components/Photo/_new/ss110322-salton-sea-jm-04_2.photoblog900.jpg [Accessed 31 March 2015] Fig. 61 Author’s own Fig. 62 PERRY, J. (2012) Above Horizon. Goldstein Skyspace. [Online] Available from: http:// architectoid.blogspot.co.uk/2012/10/abovehorizon-goldstein-skyspace.html [Accessed: 20 November 2014] Fig. 63 Collage of: PEGEE 2000 (2009) London, Tate Modern in October 2003, Olafur Eliasson- The Weather Project [Online] Available from:

http://www.panoramio.com/photo/20436087 [Accessed: 07 November 2014] CHRIS 9 (2004) The Weather Project, Tate Modern, London [Online]. Available from: https://www.flickr.com/ photos/301202/1424989362/ [Accessed: 07 November 2014] POPY ACTUALLY (2011) The Weather ProjectSun construction.[Online]. Available from: http://popyactually.blogspot. co.uk/2011/04/portrait-of-week-olafureliasson.html [Accessed: 07 November 2014] VEGA PALAFOX, K. (2013) Puesta de sol en el Tate. The Weather Project [Online]. Available from: http://museografo.com/ puesta-de-sol-en-el-tate-the-weatherproject/ [Accessed: 06 November 2014] Fig. 64 COELUX (2015) [Online]. Available from: http://www.coelux.com/# [Accessed: 25 February 2015] Fig. 65 Author’s own work. Fig. 66 Author’s private collection (2013). Fig. 67-69 LAFORETE, V. (2015) Air. Las Vegas [Online]. Available form: http://fineart. laforetvisuals.com/AIR/Las-Vegas/1/caption [Accessed: 15 January 2015] Fig. 70 Author’s private collection (2013). Fig. 71-75 Author’s private collection (2015). Fig. 76 ALCOTT, J. (1975) Still from Barry Lyndon [Online]. Available from: http:// blog.ricecracker.net/tag/barry-lyndon/ [Accessed: 01 April 2015] Fig. 77 CREWDSON, G. (2010) Brief Encounters light set up sketch [Online]. Available from: http://guessthelighting. com/2010/08/16/gregory-crewdson-lightswoman-planting-flowers-in-kitchen/ [Accessed: 27 December 2014] Fig. 78 ANON (2012) Brief Encounters set setup [Online]. Available from: http://strobist. blogspot.co.uk/2012/12/dont-miss-gregorycrewdson-brief.html [Accessed: 27 December 2015]. Fig. 79 SMITH & COMPANY (2007) California Travel & Tourism Commission International Research. July-October 2007. USA: California ravel & Tourism Commission, p.18. Fig. 80 LOS ANGELES TOURIST & CONVENTION BOARD (2014) Los Angeles Tourism By Numbers. 2014 Quick Facts [Online]. Available from: http://www.discoverlosangeles.com/tourism/ research [Accessed: 03March 2015]. Fig. 81 Author’s own works.

Fig. 82 SMITH & COMPANY (2007) California Travel & Tourism Commission International Research. July-October 2007. USA: California ravel & Tourism Commission, p.17. Fig.83 ANON (2014) The Goal is Ambitious, but So Are We. Annual Report 2014 [Online]. Available from: http://www. discoverlosangeles.com/content/annualreport-fy-13-14 [Accessed: 03 March 2015]. *REV. 05.04.2015 (reference details added on 05.04.2015) Fig.84 Los Angeles ‘Before’ and ‘After’ LED retrofit. Fig. 85-93 Author’s own work.

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REPORTS SMITH & COMPANY MARKETING/ RESEARCH/ PLANNING, MERING CARSON (2007)2007 Qualitative Research Executive Summary [Online]. California Travel & Tourism Commission. Available from: http:// industry.visitcalifornia.com/FindResearch/California-Market-Research/ [Accessed: 03 March 2015] SMITH & COMPANY MARKETING/ RESEARCH/ PLANNING, MERING CARSON (2007)2007 Qualitative Research Executive Summary [Online]. California Travel & Tourism Commission. Available from: http:// industry.visitcalifornia.com/FindResearch/California-Market-Research/ [Accessed: 03 March 2015] SMITH & COMPANY MARKETING/ RESEARCH/ PLANNING (2007) California Travel & Tourism Commission. International Research. July-October 2007. [Online]. Available from: http://industry. visitcalifornia.com/Find-Research/ California-Market-Research/ [Accessed: 03 March 2015]

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OFFICIAL PUBLICATIONS USA. OFFICE OF THE MAYOR OF CITY OF LOS ANGELES. (2012) Mayor Villaraigosa Announces Completion of Largest LED Street Lighting Replacement Program. Los Angeles USA. BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2013) Changing our Glow Efficiency [Online]. Available from: http://bsl.lacity.org/led.html [Accessed: 5 February 2015]. BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2011) LED General Specs [Online] Available from: http://bsl.lacity.org/ led-contractors-vendors.html [Accessed: 5 February 2015]. LOS ANGELES TOURISM & CONVENTION BOARD (2014) The goal is ambitious, but so as we. Annual Report. [Online]. Available from: ttp://www.discoverlosangeles.com/ content/annual-report-fy-13-14 [Accessed: 03 March 2015] *REV. 05.04.2015 (reference details added on 05.04.2015) BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2014) LED Fixtures [Online] Available from: http://bsl.lacity.org/ led-contractors-vendors.html [Accessed: 5 February 2015] BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2014) Non-Cobrahead LED Fixtures [Online] Available from: http://bsl. lacity.org/led-contractors-vendors.html [Accessed: 5 February 2015]

and Contractors [Online] Available from: http://bsl.lacity.org/led-contractorsvendors.html [Accessed: 5 February 2015] BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2011) General Specifications for Solid State Lighting LED Roadway Luminaries LED Equivalent Replacement for 70W and 100W/150/ HPS [Online] Available from: http://bsl.lacity.org/ led-contractors-vendors.html [Accessed: 5 February 2015] BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2012) Requirements for Solid State Lighting LED Roadway Illuminates 200 W Equivalent without control [Online] Available from: http://bsl.lacity.org/ led-contractors-vendors.html [Accessed: 5 February 2015] BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2012) Requirements for Solid State Lighting LED Roadway Luminaries 310 W Equivalent Without Dimming Controls [Online] Available from: http://bsl. lacity.org/led-contractors-vendors.html [Accessed: 5 February 2015] BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2012) Requirements for Solid State Lighting LED Roadway Luminaries 400 W Equivalent without control [Online] Available from: http://bsl.lacity.org/ led-contractors-vendors.html [Accessed: 5 February 2015] U.S. DEPARTMENT OF ENERGY. ENERGY EFFICIENCY & RENEWABLE ENERGY. SOLID STATE LIGHTING PROGRAM. (2010) Light at Night: The Latest Science (whitepaper)[Online] Available from: http://bsl.lacity.org/ led-contractors-vendors.html [Accessed: 5 February 2015]

BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2011) LED Equipment valuation Procedures [Online] Available from: http://bsl.lacity.org/led-contractorsvendors.html [Accessed: 5 February 2015] BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2012) Minimum Requirements for Testing and Evaluation of LED Equipment [Online] Available from: http://bsl. lacity.org/led-contractors-vendors.html [Accessed: 5 February 2015]

BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (2012)Changing our Glow for Efficiency. Municipal Solid State Lighting Consortium- LED workshop. [Online] Available from: http://bsl.lacity.org/led. html [Accessed: 5 February 2015]

BUREAU OF STREET LIGHTING. CITY OF LOS ANGELES (n.d.) Notice To All Designers

AUDIO LUX. ARTISTS’ MOVING IMAGE. (n.d.) Interview with Thom Andersen [Online]. Available from: http:// lux.org.uk/downloads/interview-thomandersen [Accessed: 2 March 2015].

155.

FURTHER RESEARCH SOURCES *REV. 05.04.2015 (reference details added on 05.04.2015) 500 Days of Summer (2009)Film. Directed by Marc Webb PALLASMA, J.The Eyes of The Skin: Architecture and the Sense.

LYNCH, D. Color and Light in Nature. LAM, M.C. Perception and Lighting as Formgivers for Architecture. ALBERTI, De Pictura.

RASMUSSEN, S.E. Experiencing Architecture. TREIB, M. (1996) Space Calculated in Seconds. The Philips Pavilion, Le Corbusier, Edgar Varese. ROSSOTTI, H. (1983) Color. Princeton University Press. MINNAERT, M. The Nature of Light and Color in Open Air. DUTTMAN, M. (1981) Colour in Townscape. Architectural Press. MOOR, A. Colours of architecture: Coloured Glass in Contemporary Buildings. TORNQUIST, J. (1999) Color and Light: Theory and Practice. Ikon. SPEIRS, J. (2006) Made of Light: The Art of Light and Architecture. Birkhauser. PARKOWITZ, S. Empire of Light.

MAERTZ, A., PAUL, M.R. Dictionary of Colour. MAUND, B. (1995) Colours. JARMAN, D. (1994)

Chroma.

CUTTING ROOM FLOOR

159. APPENDIX 1 Script revision 00.

can manufacture of golden hour deliver ‘mitchum’ architecture?

paradise found: LA’s synthetically-recreated ambience & modernist houses’ seduction.

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” REV.00 161.

:: basia kowalska :: 000736013 :: unitsixteen

> “[don’t] kill the mystery” nd

> spotlight detail illumination

:: “Burning desire” [video] Lana del Rey

:: Perry Kulper multi-layer collage dwgs

:: “Breathing room” [installation] GORMLEY A. (2006-2012)

COLLECTIVE /ADOPTED MEMORY indirect

:: trompe de l’oleil

:: Gregory Crewdson staged photography

:: Martin Parr stylized photography

:: “Truman Show” 1998 (film) WEIR P. USA: Paramount Pictures

:: Instagram

SENSES direct

DIRECT/ INDIRECT experiences conditioning future life

SOCIALIST THAMESMEAD

SCHIZOPHRENIC BLUR/ LONGING

CALIFORNIA ‘50s & ‘60s

PERCEPTION: pastness, memories

:: “Invisible cities”, CALVINO I.(1997) Vintage: London

:: “Light, Colour, Sound- sensory effects in contemporary architecture”, BAHAMON A., ALVAREZ A.M. (2010) Parramon: Barcelona

:: “The 50s & 60s: the best of times”, PRESSLEY A. (2003) Michael O’Mara: London

ANALOGUE SENSORIUM

READING/ UNDERSTANDING REALITY

CONSTRUCTING BESPOKE REALMS

FEELINGS direct

ANALOGUE EXPERIENCE

ACTIONS direct

:: “Atrocity Exhibition”, BALLARD J. G. (2001) Flamingo: London >> 3mth-long linear Med Megapolis basked in gold

FRAGMENTED MOSAIC of memories

mentality build enviro.

TEXTURES

SMELLS

SOUND flashbacks

LIGHT [golden hour] mental snapshots

:: Unflattened, SMILDE B. (2012)

:: Nimbus II, SMILDE B. (20102014) :: the blur building, DILLER & TEMPORALITY SCOFIDIO (2002)

? colour-blind sunset? memories perceived in colour & greyscale?

:: “The art of looking sideways”, FLETCHER A. (2001) Phaidon: London > “associations w/ colour are emotive, irrational and deep-seated” p.55

:: “The art of light and space”, BUTTERFIELD J. (1993) Abbeville Press: New York

:: “a single man” 2010 [film] FORD T. USA: Fade to Black Productions :: “Rde” [video] Lana del Rey :: heliodon

UTOPIA

ESCAPISM HEDONISM CAPITALISM

:: “Arts & Architecture” Case Study Houses

‘GRASS ALWAYS GREENER’

:: “Designing the seaside: architecture, society and nature” GRAY F. (2006) Reaktion: London :: “the century of the self” 2002 (series) CURTIS A. UK: BBC

FLATPACK/ MODULAR PARADISE

GLOBAL VILLAGE fed identical ideals? collective ‘perfection’? reality not ‘real enough’ HYPERRALITY

DISILLUSIONMENT W/ REALITY

PERPETUAL PURSUIT OF THE PROMISED LAND

“...dreaming is a kind of insanity, a rush of visions, largely unconnected to reality emotioncharged and symboldrenched” Wilson E. in FLETCHER (2001)

> Andy Warhol post-shooting: uncertain whether alive or dead.

“It could be that we dream all the time w/ out realizing it because consciousness makes such a noise we’re not aware of what’s going on” FLETCHER (2001) p.68

“[...] Rene Descartes was bewildered when he realized there were no conclusive indications to distinguish whether he was awake or asleep” FLETCHER (2001) p.67

utopia >> ‘sleight of eye’ >> golden ‘hour’ >> fragmentation (memories) >> guys ’n’ dolls California >> temporality

Sensory trompe de l’oleil Elysium of Californian golden - hour portable 'crock of gold’

:: “Animation: form follows fun” DAHMEN-INGEHOVEN R., ed. FEIREISS K. (2004) Birkhauser: Basel

:: “Designing Disney’s theme parks: the architecture of reassurance” MARLING K.A. (1997) Flammarion

:: “I got u” 2014 (video) DUMONT D. ft. JONES J. UK: Virgin EMI

:: “Lucy” 2014 (film) BESSON L. USA: Canal+

:: “inception” 2010 (film) NOLAN CH. USA: Warner Bros

Fox

PORTABLE SENSORY ‘PERFECTION’/ BESPOKE :: “avatar” ‘BETTER THAN 2009 (film) CAMERON J. LIFE’ GENERATOR USA, UK: 20th Century

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” REV.00

Background drivers & interests

Perceptual psychology secretly governs our responses on a daily basis- it holds key to one’s reading of reality, existential experience. Learned logic, knowledge and past experiences are some ingredients forming human perception, of which manipulation has profound implication within socioarchitectural context- it conditions our reading of the surrounding scape and situations. This dynamic has been widely explored and documented, as well deployed for wide range of purposes- ranging from providing amusement to amassing financial gain. The Disney empire exploits cartoonified forms identified with happy childhood; Light and Space artists in creating light trompe-lœil pieces or otherwise force viewers to suspend logic to rethink familiar situations as testified by Robert Irwin himself: “when you came out of this space [...] the world really did look different. ...and did for a number of hours afterwards; [...] it looked radically different (sic).It had a much much stronger sense of color, a much stronger sense of movement, a much stronger sense of textures. . Now nothing actually (sic) changed out there, it was just perceived differently” 2 (e.g. Turrell’s Afrum, Irwin’s anechoic chamber tests); Escher’s work demonstrates knowledge of Ponzo and Parallax optical illusions, while Purkinje Shift defines a physiological shift in the way we see. Inception3 by Chris Nolan took this notion a step further in proposing that alternative reality can be constructed, inhabited and ‘tailored’ through manipulating dream-state perception. The pursuit of utopia hinted at in the film coupled with impact of architectural form on human psyche is a second theme in a collective of drivers from which this dissertation evolved. This paper will not however focus on the dystopian aspect of planned communities as pictured in Elysium4, rather centering its attention on mid-century programmes of New Towns in Britain, Case Study Houses in California- emblematic of the ‘American dream’ and propaganda of boosterism in this setting. Stemming from this are interests in nostalgia and concept of ‘pastness’, dealt with by Jameson 5, and represented by mass retro-infatuation of recent years. Finally, to provide counterbalance social/ reality engineering, as seen in The Truman Show6, Æon Flux7, work of Gregory Crewdson look at the ‘when it all goes wrong’ scenario and serve as a sobering ‘devil’s advocate’ tool in evaluation process and serving as a window onto the other type of alternative reality.

[ E.O. WILSON, THE ART OF LOOKING SIDEWAYS] 1

“...DREAMING IS A KIND OF INSANITY, A RUSH OF VISIONS, LARGELY UNCONNECTED TO REALITY, EMOTION-CHARGED AND SYMBOL-DRENCHED, ARBITRARY IN CONTEXT, AND POTENTIALLY INFINITE IN REALITY.”

:: fig. 01:: mind map exploring the terrain of the subject [opposite page]

Since “associations with color are emotive, irrational and deep-seated”8 colour becomes a signifier of emotion. However, the signified is wildly varied. In its context specificity and dependency it is reminiscent of Doppler Effect, which is compared to parallax: perception of an object is directly related to subject’s positioning in relation to it. In other words, the viewed object’s location is apparently not absolute, “the subject and the object carry and exchange information and energy”9. What does

In the first post-ware decades, both UK and USA were engulfed by the ‘intrepid nation’ atmosphere. Looking back at major movements and their outcomes through this lens it is interesting how differently British and American products of mass housing have come to be perceived by the society. These efforts unarguably evoke strong feelings on both sides of the Atlantic. In Europe these are in majority discontentment and disenchantment and social housing suffers from ‘chip on the shoulder’ syndrome, with low level of ownership identification by tenants and steady but progressing neglect. In contrast, a concept aimed at generating affordable family houses in California instigated by Art & Architecture magazine produced landmarks of wealth and power. Case Study Houses and Thamesmead were both conceived as experimental developments around the same time, yet the former is celebrated while the latter is part of a group of housing which contributed to rooting antipathy towards modernist architecture on the British isles. The hypothesis to explain this situation is multi-fold and draws on the concepts of the composite character of perception (physiological and psychological); its role in understanding of reality; rise of consumerism and society’s quest for perpetual entertainment/seduction and the role of architecture in this process (embodied by theme parks, technological advance in blurring reality/fiction by introduction of ‘wearables’ and ‘taming’ and reifing phenomena to be at our disposal). Lastly, and most importantly, impact of natural light and colour on perception of architecture will be analysed. It will be questioned whether geographical location determines success of architectural style and how important in this respect is ‘national conditioning’ (the past, culture, political system and religion to name just a few).

context of inquiry & key concepts

:: fig.03:: Stahl House, Case Study House photographed by Schulman. A composite photography engineering “no cracks, no decay” character of modernist architecture [left]

:: fig. 02::Purkinje shift in the perception and ‘biography’ of Thamesmead [opposite page]

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” REV.00 163.

Disjunction between the concept, end-product and its perception by the Thamesmead’ians and thos visiting is parallel to Purkinje shift in colour perception. As illumination levels decrease retinal receptors’ sensitivity to particular light wavelengths changes- the rods take over producing monochrome image. At dusk as the sunrays travel increasingly longer distance through the atmosphere’s blanket, Rayleigh scattering

: : planned ™ : : photopic vision : high CRI : upper-left Kruithof curve :propaganda: ‘never had it so good!’

wherby the colony of ™ will clothe itself with Golden Hour’s magic. So conceived Sunset High Street becomes an emblem of incredibly successful and loved experimental settlement of Republic of Thamesmead.

Elysian milk & honey-flowing land can be achived by retinal bleach,

effects in cool tones retaining their legibility for the longest time.

: : realized ™ : : scotopic vision : low CRI : lower-righ Kruithof curve :outsider’s view: ‘They made me do it!’

™ Purkinje effect

: : perceived ™ : : mesopic : mid CRI : centre/lower border Kruithof curve :first-hand experience: ‘Stockholm’ syndrome

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” REV.00

: : vision shift triptic : :

apparently remain constant is that population as group falls under the mystical spell of light during the golden ‘hour’ after sunrise and before sunset. It transpires that under the ‘gilded’ firmament the world seems a better place and utopia is at an arm’s length. It also invokes memories of ‘the good old days’, as in The Single Man10 or The Days of Heaven11. Visual artists have developed tools and methods of controlling perception to let precipitants regain appreciation of light in our world over-saturated with artificial light. Retinal bleach (e.g. Eric Orr’s Green Light Corridor) and sensual deprivation (e.g. Irwin’s anechoic chamber experiments) are techniques most appropriate for this thesis’ area of study in replication of phenomena. As much as in principle, essential characteristics of golden hour will have similar emotional reaction implication to most, the depth of the phenomenological responses will vary. Additionally, this ‘magic’ hour does not exist without a percipient, it “requires the context and viewer to complete it”9. Eliasson’s The Weather Project prompted visitors to TATE Modern to momentarily forget they were indoors, in Central London and adapted their behaviour to that of beach holiday. Clearly, the Turbine hall’s ambience drenched with sunset light and ‘seaside’ air had such profound effect on the eye receptors, and in turn on the brain’s response that for just a moment viewers were transported to distant realm- it allowed each of them scope for personal response and interpretation of the stimuli. Popularity of the installation prompts feasibility study of meteorological engineering for profit- aiming at selling an ambience, and not longer architecture housing it. In this sense potential manufacturing of the hour’s effects falls under “cool” or “low definition architecture” 9- quintessentially post-structuralist notion. To paraphrase Hickey “[percipient] is investing the [viewed/ signified] with his own subversive vision, his own pace and sense of dark contingency.”9

::fig. 05:: a photograph of Californian Pacific shore during golden hour. [left; photo by The Inertia]

:: fig. 04:: a still from A single Man film capturing golden hour warm colour palette employed in producing nostalgic flashbacks of longed-for cherished memories, while depressing presence is given a scotopic vision treatment, enhancing emotional response of the viewers. [opposite page]

THE BEARER OF IS THE REVELATION” [JAMES TURRELL]

objectives of the (hypo)thesis

REV.00

The aim of this thesis is an in-depth understanding of processes governing the way we perceive reality, what constitutes reality, what defines it for individuals and what conditions responses to architectural form and spatiality. In particular the development/provision of ‘golden hour fantasy/nostalgia ambience’ tool as catalyst for social change. In short, conception of “Mitchum” architecture, and architecture which “[is] about mood or the inhabitation of alternative realities”.9 Ultimately, desired outcome of the study is a construction of a device (installation/ industrial design object) providing temporal experience of the golden hour- regardless of the percipient’s location in time and space.

“ IT’S NOT REVELATION- IT

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” 165.

As subject of the thesis is crucially of an intimate nature, the standpoint for the choice of methods and methodology is that these should be mostly of naturalistic, experiential character. However, introduction of quantitative data is essential in relation to human physiology and scientific nature of astronomy. I believe in the inherent advantageous impact of light conditions on social situation and individuals’ psychological health. It is my conviction that sensory architecture can be catalyst for social change and impact perception of life’s situation and give rise to a more content society. By understanding how visual information is processed by human brain and how different signifiers are interpreted, one can be conditioned (or re-wired) to adopt an optimistic, driven outlook. That is to say understanding of social circumstances, aspirations and general contentment with life can be altered. Of course, this is not to propose that all of world’s problems can be resolved by gilding the Earth’s architecture and casting a 2000K-3500K beam of light over it. But strategic application of a Golden Hour treatment presents an opportunity for release of endorphins and in turn instigate an ambition, or drive towards bettering one’s situation. At the very least, it would give a temporal healthy experience of elation, nostalgia and distancing from reality which in itself is sought-after and relished, as indicated by wide-spread use of consciousness-altering substances. On the other end of social spectrum, potential of ‘bottling’ powerful experiences and re-living them at a whim is hugely marketable as the ultimate luxury amusement toy. This is demonstrated by growing proliferation of art works such as Skyspaces by Turrell in high-end residential context. The impact of light in all its forms has been realized and good quality light fittings is a big business! Commercial and private sector are saturated with lighting design experts, and where within financial reach, consumers are willing and happy to pay the price for creating the right ambience. John Cullen, Viabizzuno, Phillips or iGuzzini are just a selection of companies benefiting from consumer’s awareness of light’s phenomenal impact, demonstrated by continuous investment in research, marketing and innovation in the field.

research argument/proposition/ position

:: fig. 06:: schematic of composite character of perception [opposite page]

Increasingly, current discourse within architecture and related disciplines, is fascinated with the possibilities of technology on human psyche and, perhaps in response to over-saturation of culture with materialistic visions, designers refocus on possibilities of spatial design beyond the tangible. The ephemeral qualities of light, as means of seeing, intrinsically associated with emotional responses, have been studied for centuries. Its understanding rendering definitions of how we (should?) perceive. Renaissance gave us perspective. Impressionism captured conyeing of light movement.2 In 2013 Google Glass entered the market. Jade Meteo Park (due to be completed in 2015), Turrell’s Ganzfelds and Eliassons The Weather Project explore seemingly unlimited potential for engineering meteorological Arcadias. It is yet too soon to declare whether these environemnts perform in long-term but the hopes are high. This thesis negotiates between the aforementioned constructs, by syntax aspects of them in aspiration to establish a pattern for future realization and testing on the ground of its informed assumptions. The Park’s scale, Genzfeld’s engulfing nature and spectator’s response in TATE Modern form corner stones of this proposal’s endeavour. So far, there seems to be lack of study into effects of exposure to Golden hour in terms of perceptual psychology, which is what is going to be explored in subsequent development of the project.

role of practice/practitioner; position research within

:: fig. 09 :: Din blinde passager by O. Eliasson creates engulfing atmosphere of retinal bleach [opposite page, bottom right; photo: AMMA]

::fig. 08:: Afrum by James Turrell with our learned logic and tricks the and perception to work over-time to ‘pull’ the shape into a 3-D object. {opposite page, top right; photo: MCASD]

:: fig. 07:: The Weather Project, O. Eliasson recreated natural phenomenon of sunset’s light; despite its microcosmic scale the effect was so profound that visitors to the gallery responded with strong enough sensory experience to make them ignore the fact the the gallery neither sounded, nor smelt nor had the temperature of a beach at sunset. [opposite page, left; photo: PopActually]

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” REV.00

The aim is predominantly to gather and analyse data on contemporary technological advances in the field of phenomena manufacture and control, as these are available as primary sources and as such are of high value to this thesis. However, the subject’s complex nature dictates a degree of interpretativehistorical methods to be deployed in the field of source gathering relating to mid-century housing responding to shifting socio-economic and political situation/ context. These aspects can only be explored via historical written and visual data, and complemented by occasional primary source of an interview/ informal discussion (which is however an interpretation itself). The qualitative research will strive to complement and counteract the fall-back of empirically largely inaccessible data. Historical-intepretative portion of the research responds to the subject matter’s complex make up of multi-discipline of the context (politics, culture, economy)- it is going to make it possible to look at the topic in a holistic way to establish context of the work being conducted- its roots and development. Furthermore, bricolage allows for manoeuvring of methods and methodologies as these require a degree of dynamism in response to unearthing of new material and a growing knowledge-base and the researcher’s understanding. This approach has already presented its greatest challenge in the volume of data available in each respectable field and closely-linked information referring to it. Another weakness hinted at in the literature is the credibility of the data. However, in light of this study this is neutralized as personal interpretation/ perception on phenomena is the very essence of the study and its quest to replicate these.

Methodology: positivist experimental/ manipulative approach is not suitable as the perfect lab conditions are not a suitable environment for testing of this hypothesis, since this set up is non-transferable/ feasible in construction and achieving in reality. A number of variables which are beyond control are bound to enter and influence the ‘real world’ experience. Therefore, replication of the phenomena can only always be approximate (were an absolute replication even remotely possible, the concept would enter dystopian arena of human beings being ‘farmed’ in a replicable way: the same growing up conditions, situations, - basically conditioning. The same knowledge and common logic introduced. However, even to this degree of control we would have to allow the variable of person’s physiological conditioning- eye/ brain wiring connection alternatives). The role of the research will be that of an observer (of both others, and herself) and as that of the generator of the hypothesis’ testing devices. Consequently, a post-structuralist qualitative approach is favoured as the primary route inquiry, which exerts no authoritative view, allows for diachronic interpretation and does not call for one absolute truth, but encourages identification of content-specific meanings- a perfect match for a study dealing with a multitude of interpretations and responses to the signifier of the golden hour. Because of the two-fold character of the study (humanistic psychology and scientific astronomy and physiology) pluralist method will be applied to facilitate syntax and analysis of inter-disciplinary links and implication.

Epistemology: This study is post-structuralist, in that the research is biased towards methods, methodology and analysis by the very virtue of the researcher’s cultural, logic, knowledge and history conditioning.

Ontology of natural phenomena is widely adopted in positivist spirit, in that laws of nature and astronomy are realistic and understood and firmly set in the cannon of popular science. However, from the position of a percipient the nature of reality seemingly aligns itself with the relativist notion championed by poststructuralism.

Because of the emphasis on the crucial role of visual receptors, the study will be mainly visually-based, incorporating study of both static and motion images. Proposed methods are founded on qualitative research methods, which are naturalistic and interpretative. Primary desktop research focused on establishing context and breadth of the field of study- which is immense. For the reasons of making the scope of the thesis manageable it is necessary to embark on in-depth exploration of the ways of creation and exploitation of the golden hour. To achieve this, a ‘bricoleaur’ inquiry will be conducted, comprising of contextual research (with special focus on gaining first-hand experience of completed works in the field, (i.e. installations by visual artists- observation by the researcher of the viewers’ responses as well as attempting to capture her own, in order to “[understand] how people in real-world situations “make sense” of their environment and themselves”11), table-top experiments aiming at production of scaleddown versions of ‘perceptual cells’; interviews with experts in the fields (medical practitioners, visual artists/ light technicians), and lastly, conducting a questionnaire-based survey is under consideration to gather data to be used as comparative study against the researcher’s assumptions and biases.

rationale for methodology & methods

“EVOLUTION OF L.A.’S HEADSHOT IN MAGIC HOUR” REV.00 167.

169. APPENDIX 2 Cinematographic L.A. filmography (selected works).

Sheet1

Hal Roach Studios

spherical

Female

1933

60

Curtiz,M., Dieterle, W.

First National Pictures(controlled WB)

Ennis House filming

What? No beer?

1933

65

Sedgwick, E.

MGM

China Girls

1933

Babbitt

1934

74

Keighley, G.

Three Smart Girls

1936

84

A star is born

1937

111

Hollywood Cavalcade

1939

97

Eastside

Northeast

Santa Monica Mountains

Parrott, J.

Topanga

29

The pomona Valley

1932

Malinbu

The Music Box

San Gabriel Valley

b&w

Arcadia

spherical

Griffith Park

RKO Pathe Pictures

Hollywood Hills W

Cukor, G.

Hollywood Hills

88

Stahl House, HH W

1932

Ennis-Brown house, LF

What Price Hollywood?

Los Feliz

1.37:1

Hollywood Blvd, H

b&w

Paramount Studios, H

spherical

Hollywood Sign, H

Warner Bros.

Hollywood

Wellman, W.

Hancock park

83

Fairfax

1931

Sunset Blvd, WH

The Public Enemy

Sunset Strip, WH

35mm

West Hollywood

1.37:1

Elysian Park

b&w

Echo Park

spherical

East L.A.

First National Pictures(controlled WB)

East Hoillywood

LeRoy, M.

Chinatown

79

Koreatown

1931

Westlake

Little Caesar

Pico-Union

35mm

Central L.A.

Mid City

35mm

Bunker Hill, DwnTwn

1.33:1

Downtown

b&w

Westwood

spherical

Bel-Air

Hal Roach Studios

Brentwood

Bruckman, C.

Getty Mansion, PP

19

Pacific Palisades

1927

Sheats House, BH

Putting Pants on Philip

Santa Monica Blvd, BH

35mm

Century City

35mm

West los Angeles

1.33:1

Santa Monica

b&w

synopsis

Westside

Culver City

spherical

'STUDIO'

South L.A. Southeast

Marina del Rey

Keyston Film Company

DIRECTOR

The Harbor

Venice

Sennett, M.

South Bay

Downey

11

EYE (as seen)

Huntington Park

1913

TIME STAMP(s)

Lynwoodd

A muddy romance

TOTAL TIME

Historic South-Central

RUN TIME

NATURALARTIFICIA

Leimert Park

YEAR

NIGHT

Exposition Park

MOTION PICTURE 'COLOR'

DAY

Lakewood

PRINTED

Carson

NEGATIVE

Long Beach

ASPECT RATIO

San Pedro

PIXELS

Inglewood

HUE

Westchester

SPECTRUM

SETTING FILIMING LOCATIONS

Playa del Rey

STOCK TYPE

ATMOSPH HYPERCITY ERE REALIST AMBIENC (haze, IC E CAMERA smog) (as capture d)

REALISTIC

Gardena

LENSES

STREET LIGHT COL.TEMP

Torrace

CAMERA

GOLDEN HOUR

elsewhere in L.A.

SOURCE

FORMAT

Rancho Palos Verdes

MASTER

LIGHTING

FILM STOCK CHARACTERISTICS

Chinese Theatre, H. Blvd

CINEMATOGRAPHIC REPRESENTATION PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS

BACKDROP

sound mix

notes

silent

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

silent

\Film length: 600m (2 reels)

35mm

(Vitaphone) (Western Electric Spind

Film length: 2,225m (8 reels); Filmed in WB studios

35mm

35mm

mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios

1.37:1

35mm

35mm

b&w

1.37:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

water down beer during (after?) prohibition

spherical

b&w

1.37:1

35mm

35mm

Warner Bros

Zenith- self-proclaimed 'fastest growing community in America'. George- property developer and realtor

spherical

b&w

1.37:1

35mm

Joster, H.

Universal Pictures

sisters attempting to reunite divorced parents

b&w

1.37:1

Wellman, W.

Selznick international Pictures

young actress chasing stardom dreams in Hollywood meets and alcoholic lead actor

spherical

C (Technicolor)

Cummings, I., Keaton, B.

20th Century Fox

Newly-discovered star vs. director

spherical

bw









mono (RCA photophone system)



mono (western Electric Sound System)

800m (3reels)

mono

Filmed in WarnerBros sutdios

mono (western Electric Sound System)

Film L: 7 reels

35mm

mono

Filmed in WarnerBros sutdios

35mm

35mm

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

1.37:1

35mm

35mm



Electric Sound System Noiseless

Film L: 3,046.48 (12 reels)

1.37:1

35mm

35mm



mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.



mono (western Electric Sound System)

Film L: 2,938.9 (11 reels); Filmed in the Studio.

mono (Western Electric Microphonic Recording)

Filmed in Studios















C (Technicolor)

Johnny Eager

1941

107

LeRoy, M.

MGM

This gun for hire

1942

81

Tuttle, F.

Paramount

Meshes of the Afternoon

1943

14

Deren,M., Hammid, A.

Maya Deren Experimental Films

The White cliffs of Dover

1944

126

Brown, C.

MGM

Bathing Beauty

1944

101

Sidney, G.

Dragon Seed

1944

148

Gone in sixty seconds

1944

Double indemnity

DA's daughter falls in love with a gangter

spherical

b&w

1.37:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

b&w

1.37:1

16mm

16mm

1.37:1

35mm

35mm



1.37:1

35mm

35mm



snippets of memories? Dreams?

spherical

MGM

break up of a relationship

spherical

C (Technicolor)

Bucquet,H., Conway, J.

MGM

invasion of a Chinese village by the Japanese

spherical

b&w

105

Halicki, H. B.

H>B. Halicki Mercantile Co.

car theft

1944

107

Wilder, B.

Paramount

Hollywood Canteen

1944

124

Daves, D.

Warner Bros

Detour

1945

67

Ulmer, E.G.

Mildred Pierce

1945

111

Nocturne

1946

The Blue Dahlia

1946?

Nobody lives forever

1946

The Big Sleep

1946

Suspense

1946

Till the end of time

1946

105

The Devil thumbs a ride

1947

62

The unfaithful

1947

109

96

Bolex Camera

Sepiatone





mono; silent



mono (Western Electric Sound System)

Film L: 11 reels;

mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

C (Consolidated Film Industries)

1.85:1

spherical

b&w

1.37:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios

Producers Releasing corporation

spherical

b&w

1.37:1

35mm

35mm

mono (western Electric Sound System); Filmed in Nevada

Curtiz, M.

Warner Bros

spherical

b&w

1.37:1

35mm

35mm

Marshall, G.

Paramount

spherical

b&w

1.37:1

35mm

35mm

soldier manages a kiss from a girl

Arriflex

Arriflex

Eastmancolor



Sherman, V.

RKO Pathe Pictures

WWII veterans re-adjusting to normal life

spherical

b&w

1.37:1

35mm

35mm

RKO Pathe Pictures

spherical

b&w

1.37:1

35mm

35mm

Warner Bros

spherical

b&w

1.37:1

35mm

35mm

 

mono





mono (Western Electric Microphonic Recording)









Dmytryk, E.



























mono (RCA Sound System)



mono (Western Electric Recording)

Film L; 2m (11 reels)

Mapping montage evolution of mono (RCA Sound cinematographic L.A. (selected Film L: 2,877.6 System) works), filming locations across the city, equipment and processes used. mono (RCA Sound System)

Sheet1

1946

spherical

b&w

1.37:1

35mm

35mm

Sherman, W. V. Wellman,

Warner Bros. Bros

spherical

b&w

1.37:1

35mm

35mm



94 88

Potter,G. H.C. Cukor,

RKO Pathe Radio Pictures Pictures RKO

spherical spherical

b&w b&w

1.37:1 1.37:1

35mm 35mm

35mm 35mm



1948 1932

91 29

Keighley, W. Parrott, J.

20th Century Fox Hal Roach Studios

spherical

b&w

1.37:1

35mm

35mm



He walked by night Female

1948 1933

79 60

Werker, A.L., Curtiz,M., Mann, A. W. Dieterle,

First Foy National Bryan Productions Pictures(controlled WB)

Ennis House filming

spherical

b&w

1.37:1

35mm

35mm

Act ofNo violence What? beer?

1949 1933

82 65

Zinnemann, F. Sedgwick, E.

MGM MGM

water down beer during (after?) prohibition

spherical spherical

b&w b&w

1.37:1 1.37:1

35mm 35mm

35mm 35mm

The Real Menace China Girls

1949 1933

A 10,000..more Babbitt

1949 1934

74

Keighley, G.

Warner Bros

Zenith- self-proclaimed 'fastest growing community in America'. George- property developer and realtor

spherical

b&w

1.37:1

35mm

Shockproof Three Smart Girls

1949 1936

84

Joster, H.

Universal Pictures

sisters attempting to reunite divorced parents

b&w

1.37:1

Criss A starCross is born

1949 1937

111

Wellman, W.

Selznick international Pictures

young actress chasing stardom dreams in Hollywood meets and alcoholic lead actor

spherical

C (Technicolor)

D.O.A. Hollywood Cavalcade

1950 1939

97

Cummings, I., Keaton, B.

20th Century Fox

Newly-discovered star vs. director

spherical

Sunset Boulevard

1950

110

Wilder, B.

Paramout

Johnny Eager The Damned don't cry

1941 1950

107 103

LeRoy, M. Sherman, V.

MGM Warner Bros

This gun for hire Armored car robbery

1942 1950

81 67

Tuttle, F. Fleischer, R.

Paramount RKO Pathe Pictures

Meshes of the Afternoon

1943

14

Deren,M., Hammid, A.

Maya Deren Experimental Films

The White next voice you The cliffs ofhear... Dover

1950 1944

126

Brown, C.

MGM

Kiss tomorrow Bathing Beautygoodbye

1950 1944

101

Sidney, G.

Union Station Dragon Seed

1950 1944

81 148

Shadow the seconds sky Gone inin sixty

1951 1944

The Atomic City Double indemnity

troubles of building bespoke house

DA's daughter falls in love with a gangter





mono (RCA Sound Film L: 2,877.6 silent \Film length: 600m (2 reels) System)



(Vitaphone) (Western Electric Spind 





mono mono (Brunswick (RCA Sound Portraying Chicago? Film Radios length: 2,225m; Filmed in WB System)Used Exclusively) studios







mono mono (RCA (RCA Sound photophone System) system)



Film L: 7 reels

35mm

mono

Filmed in WarnerBros sutdios

35mm

35mm

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

1.37:1

35mm

35mm



Electric Sound System Noiseless

Film L: 3,046.48 (12 reels)

bw

1.37:1

35mm

35mm



mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); features Bradbury Building Filmed in Studios.

spherical

C (Technicolor) b&w

1.37:1

35mm

35mm

spherical spherical

b&w b&w

1.37:1 1.37:1

35mm 35mm

35mm 35mm

spherical spherical

b&w b&w

1.37:1 1.37:1

35mm 35mm

35mm 35mm

b&w

1.37:1

16mm

(1950s televis 16mm ion

1.37:1

35mm

35mm



1.37:1

35mm

35mm



C (Consolidated b&w Film Industries)

1.37:1 1.85:1

35mm

35mm

b&w b&w

1.37:1 1.37:1

35mm 35mm

35mm 35mm

b&w b&w

1.37:1 1.37:1

35mm 35mm

35mm 35mm

1.37:1

35mm

35mm

C (Technicolor)

Bucquet,H., Maté, R. Conway, J.

Paramount MGM

invasion of a Chinese village by the Japanese

spherical

b&w

78 105

Wilcox, F.M. Halicki, H. B.

H>B. Halicki Mercantile MGM Co.

car theft

spherical

1952 1944

85 107

Hopper, Wilder, J. B.

Paramount Paramount

The War ofCanteen the Worlds Hollywood

1953 1944

85 124

Haskin, B. Daves, D.

Paramount Warner Bros

Detour

1945

67

Ulmer, E.G.

Producers Releasing corporation

Bolex Camera

The Glenn Miller Story

1954

115

Mann, A.

Mildred Pierce

1945

111

Curtiz, M.

Pushover

1954

88

Nocturne

1946

Arriflex

spherical spherical

spherical spherical

Technicolor Three-Strip

Arriflex

Eastmancolor

Sepiatone









































 mono (western Electric Sound System)

 

mono (Western Electric Microphonic Recording)

 

 





b&w

Universal

spherical

C (Technicolor)

1.37:1

35mm

35mm

Warner Bros

spherical

b&w

1.37:1

35mm

35mm

Quine, R.

Columbia Pictures

spherical

b&w

1.85:1

35mm

35mm

Stone, A.

Columbia Pictures

96

Marshall, G.

Paramount

Rebel Without a Cause

1955

111

Ray, N.

Warner Bros

Nobody lives forever

1946

suburban hostages

Film L: 2,938.9 (11 reels); Filmed in in Frank the Studio. Filmed Sinatra's Palm Springs modernist house. Filmed in Studios

mono; silent



 

mono (Western Electric Sound System)

Film L: 11 reels;

mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

mono













mono (Western Electric Microphonic Recording)



Film L; 2m (11 reels)

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios



C (Technicolor) spherical

86

Film length: 2,225m (8 reels); Filmed in WB studios

mono (western Electric Sound System)

spherical

1955

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

Filmed in WarnerBros sutdios

break up of a relationship

1946?

Santa Monica Mountains

silent

notes

mono

MGM

The Blue Dahlia

BACKDROP

mono (Western Electric Recording) sound mix

800m (3reels)

spherical

The Night holds terror

Topanga

The pomona Valley

Malinbu

San Gabriel Valley

Arcadia

Eastside



Northeast

Griffith Park

Hollywood Hills W

Hollywood Hills

 Stahl House, HH W

Ennis-Brown house, LF

Los Feliz

Hollywood Blvd, H

Paramount Studios, H

Hollywood Sign, H



Hollywood

Hancock park

Fairfax

Sunset Blvd, WH

Sunset Strip, WH

West Hollywood

Elysian Park

Echo Park

East L.A.

East Hoillywood

Chinatown

Koreatown

Westlake

Pico-Union

 Central L.A.

mono (western Electric Sound System)

snippets of memories? Dreams?

soldier manages a kiss from a girl

Mid City

The Street with no name Music Box

First National RKO Pathe Pictures Pictures(controlled WB)

Bunker Hill, DwnTwn

1948 1932

35mm 35mm

Downtown

Mr Bladings builds his What Price dream houseHollywood?

35mm 35mm

Westwood

109 83

1.37:1 1.33:1

Bel-Air

1947 1931

b&w b&w

Brentwood

The Public unfaithful Enemy

spherical spherical

WWII veterans re-adjusting to normal life

Getty Mansion, PP

LeRoy, M.

35mm

Pacific Palisades

62 79

35mm

Sheats House, BH

1947 1931

1.33:1

Santa Monica Blvd, BH

The Devil thumbs a ride Little Caesar

b&w

Century City

RKO Roach Pathe Studios Pictures Hal



spherical

West los Angeles

Dmytryk, E. Bruckman, C.

synopsis

Santa Monica

105 19

EYE (as seen)

Culver City

1946 1927

TIME STAMP(s)

Marina del Rey

Till thePants end of Putting ontime Philip

'STUDIO'

TOTAL TIME

SETTING FILIMING LOCATIONS 

Westside

Venice

Keyston Film Company

DIRECTOR

NATURALARTIFICIA

Downey

Sennett, M.

NIGHT

Huntington Park

11

DAY

Lynwoodd

1946 1913

PIXELS

Historic South-Central

Suspense A muddy romance

HUE

Leimert Park

RUN TIME

SPECTRUM



South L.A. Southeast Exposition Park

YEAR

STOCK TYPE

The Harbor

Lakewood

MOTION PICTURE 'COLOR'

LENSES

South Bay

Carson

1946

CAMERA

ATMOSPH HYPERCITY ERE  REALIST AMBIENC (haze, IC E CAMERA smog) (as capture d)

REALISTIC

Long Beach

The Big Sleep

SOURCE

STREET LIGHT COL.TEMP

San Pedro

1946

b&w

Inglewood

173.MASTER

Nobody lives forever

spherical

Westchester

Paramount

Playa del Rey

Marshall, G.

Gardena

96

GOLDEN HOUR

Torrace

1946?

LIGHTING FORMAT 1.37:1 35mm 35mm PRINASPECT NEGATIVE TED RATIO

elsewhere in L.A.

The Blue Dahlia

FILM STOCK CHARACTERISTICS

Chinese Theatre, H. Blvd

CINEMATOGRAPHIC REPRESENTATION PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS

Rancho Palos Verdes

Nocturne

mono (western Electric Sound System); Filmed in Nevada 









spherical

b&w

1.37:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm





CinemaScope

C (Warner Color)

2.55:1

35mm

35mm













 

 



mono (RCA Sound System)



mono (Western Electric Recording)



16mm The Big Sleep East of Eden

1946 1955

Suspense

1946

Till the end of time

1946

105

The Devil thumbs a ride

1947

62

The unfaithful

1947

109

115

Kazan, E.

Warner Bros

war getting in a way of living life

CinemaScope

C (Warner Color)

2.55:1

35mm



35mm



Dmytryk, E.

RKO Pathe Pictures

WWII veterans re-adjusting to normal life

spherical

b&w

1.37:1

35mm

35mm

RKO Pathe Pictures

spherical

b&w

1.37:1

35mm

35mm

Warner Bros

spherical

b&w

1.37:1

35mm

35mm



mono (RCA Sound Film L: 2,877.6 System)

Page 1

Sherman, V.











mono (RCA Sound System)

Sheet1

Keyston Film Company Parklane Pictures Inc.

spherical spherical

b&w b&w

1.33:1 1.66:1

35mm 35mm

35mm 35mm

19 72

Bruckman, C. Pollexfen, J.

Hal Roach Studios C.G.J> Productions

spherical spherical

b&w b&w

1.33:1 1.37:1

35mm 35mm

35mm 35mm

1931 1956

79 14

LeRoy, M. MacKenzie, K.

First National Pictures(controlled WB) student film at USC

spherical

b&w

1.37:1

35mm

35mm

The Public Enemy House on Hunted Hill

1931 1959

83 75

Wellman, W. Castle, W.

Warner Bros. overnight stay dare in William Castle Production ahunted house (Ennis House)

spherical spherical

b&w b&w

1.37:1 1.85:1

35mm 35mm

35mm 35mm

What Price Hollywood? The Exiles

1932 1961

88 72

Cukor, G. MacKenzie, K.

RKO Pathe Pictures

spherical

b&w b&w

1.37:1

35mm 35mm

35mm 35mm

The Music Box Invisible invaders

1932 1959

29 67

Parrott, J. Cahn, E.L.

Hal Roach Studios Paramount

Female The Crimson Kimono

1933 1959

60 82

Curtiz,M., Dieterle, W. Fuller, S.

First National Pictures(controlled WB) Globe Enterprises

Ennis House filming search of a stripper's killer in Japanese L.A. quarter

What? No beer? The Savage Eye

1933 1960

65 68

Sedgwick, E. Maddow, B., Meyers, S., Strick, J.

MGM City Film Corporation

water down beer during (after?) prohibition dark side of urban L.A.

China Girls Bachelor in Paradise

1933 1961

109

Arnold, J.

MGM

spherical

spherical

spherical

Panavision (anamorphic) as CinemaScope Zenith- self-proclaimed 'fastest growing community in America'. George- property developer and realtor

Babbitt Smog

1934 1962

74

Three Smart Girls Tarzan & Jane regained...sort of

1936 1964

84 80

Joster, H. Allen, W.

A star is born The disorderly orderly

1937 1964

111 90

Wellman, W. Tashlin, F.

Selznick international Pictures Jerry Lewis Productions

young actress chasing stardom dreams in Hollywood meets and alcoholic lead actor

Hollywood Cavalcade The Loved One

1939 1965

97 122

Cummings, I., Keaton, B. Richardson, T.

20th Century Fox Filmways Pictures

Newly-discovered star vs. director

Point Blank

1967

92

Boorman, J.

MGM

Johnny Eager

1941

107

LeRoy, M.

MGM

Universal Pictures

 

Panavision

spherical

Santa Monica Mountains

Topanga

The pomona Valley

Malinbu

San Gabriel Valley

Arcadia

Eastside

Northeast

Griffith Park

Hollywood Hills W

Hollywood Hills

Stahl House, HH W

Ennis-Brown house, LF

Los Feliz

Hollywood Blvd, H

Paramount Studios, H

Hollywood Sign, H

Hollywood

Hancock park

Fairfax

Sunset Blvd, WH

Sunset Strip, WH

West Hollywood

Elysian Park

Echo Park

East L.A.

East Hoillywood

Chinatown

Koreatown

Westlake

Pico-Union

Central L.A.

Mid City

Downtown

Westwood

Bel-Air

Brentwood

Getty Mansion, PP

Pacific Palisades

Sheats House, BH

Bunker Hill, DwnTwn

Santa Monica Blvd, BH

Century City

West los Angeles

Santa Monica

Culver City

Marina del Rey

Westside

Venice

South L.A. Southeast

Downey

The Harbor

Huntington Park

South Bay

Lynwoodd

EYE (as seen)

Historic South-Central

TIME STAMP(s)

Leimert Park

TOTAL TIME

Exposition Park

NATURALARTIFICIA

BACKDROP

sound mix

silent









silent (Vitaphone) (Western Electric Spind

everyday life in Bunker hill

native Americans in L.A.

Warner Bros

NIGHT

Sheet1

synopsis

Sennett, M. Aldrich, R.

Keighley, G.

DAY

Lakewood

PRINTED

Carson

Little Caesar Bunker Hill

NEGATIVE

Long Beach

1927 1956

ASPECT RATIO

San Pedro

Putting Pants on Philip Indestructible Man

PIXELS

Inglewood

11 106

HUE

Westchester

1913 1955

'STUDIO'

SPECTRUM

Playa del Rey

A muddy romance Kiss me deadly

DIRECTOR

STOCK TYPE

SETTING FILIMING LOCATIONS

ATMOSPH HYPERCITY ERE REALIST AMBIENC (haze, IC E CAMERA smog) (as capture d)

REALISTIC

Gardena

RUN TIME

LENSES

STREET LIGHT COL.TEMP

Torrace

YEAR

CAMERA

GOLDEN HOUR

elsewhere in L.A.

MOTION PICTURE 'COLOR'

SOURCE

FORMAT

Rancho Palos Verdes

MASTER

LIGHTING

FILM STOCK CHARACTERISTICS

Chinese Theatre, H. Blvd

CINEMATOGRAPHIC REPRESENTATION PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS





 



1.37:1 1.66:1

35mm 35mm

35mm 35mm

b&w b&w

1.37:1 1.85:1

35mm 35mm

35mm 35mm

b&w b&w

1.37:1

35mm 35mm

35mm 35mm



C (Metrocolor)

2.35:1

35mm

35mm



b&w

1.37:1

35mm

35mm

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself] \Film length: 600m (2 reels) filmed in Bradbury Bldg Film length: 2,225m (8 reels); Filmed in WB studios

mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios



mono (RCA photophone system)







b&w b&w

notes







Filmed in Angel's Flight

mono (western Electric Sound System)

800m (3reels)

mono

Filmed in WarnerBros sutdios

mono (western Electric Sound System)

Film L: 7 reels

mono

Filmed in WarnerBros sutdios

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

Electric Sound System Noiseless

Film L: 3,046.48 (12 reels)

mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.

mono (western Electric Sound System)

Film L: 2,938.9 (11 reels); Filmed in the Studio.

mono (Western Electric Microphonic Recording)

Filmed in Studios









sisters attempting to reunite divorced parents

35mm 16mm

35mm

1.37:1 1.85:1

35mm 35mm

35mm 35mm

1.37:1 1.85:1

35mm 35mm

35mm 35mm



C (Metrocolor)

2.35:1

35mm

35mm



b&w

1.37:1

35mm

35mm

spherical

C (Pathécolor)

1.85:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

b&w

1.37:1

16mm

16mm

spherical

C (Pathécolor)

1.85:1

35mm

35mm

spherical

C (Technicolor)

1.37:1

35mm

35mm

spherical spherical

Mitchell BNC

spherical spherical

b&w b&w + C

1.37:1

C (Technicolor) C (Technicolor) bw b&w















 





 







C (Technicolor)

The Trip

1967

85

Corman,R.

This gun for hire

1942

81

Tuttle, F.

American international Pictures Paramount

14

Deren,M., Hammid, A.

Maya Deren Experimental Films

1968

1943

Targets

1968

90

Bogdanovich,P.

Saticoy Production

The White cliffs of Dover

1944

126

Brown, C.

MGM

101

Sidney, G.

MGM





1944

snippets of memories? Dreams?

spherical

Bolex Camera



mono; silent

 break up of a relationship

 

1969

148

Model Shop

1969

95

1944

105

Bucquet,H., Conway, J. Demy, J.

Halicki, H. B.

MGM Columbia Pictures H>B. Halicki Mercantile Co.

invasion of a Chinese village by the Japanese

spherical

b&w

spherical

Arriflex

car theft

Arriflex

Eastmancolor

stalker from Las Vegas to L.A.

Sepiatone

C C (Consolidated Film Industries)

1.37:1

35mm

35mm

1.85:1

35mm

35mm





1969

100

Neilson, J.

GMF

35mm

35mm

Double indemnity

1944

107

Wilder, B.

Paramount

spherical

b&w

1.37:1

35mm

35mm

Marlowe

1969

96

Bogart, P.

spherical

C (Metrocolor)

1.85:1

35mm

35mm

Hollywood Canteen

1944

124

Daves, D.

Cherokee Productions,Katzka-Berne Productions Warner Bros

soldier manages a kiss from a girl

spherical

b&w

1.37:1

35mm

35mm

1970

109

Meyer, R.

decay of entertainement industry

Panavision (anamorphic)

C (DeLuxe)

2.35:1

35mm

35mm

1945

67

spherical

b&w

1.37:1

35mm

35mm

Zabriskie Point

1970

110

Antonioni, M.

MGM

Panavision (anamorphic)

C (Metrocolor)

2.35:1

35mm

35mm

Mildred Pierce

1945

111

Curtiz, M.

Warner Bros

spherical

b&w

1.37:1

35mm

35mm

The Omega Man

1971

98

Sagal,B.

Walter Seltzer Productions search for a plague's cure

C (Technicolor)

2.35:1

35mm

35mm



Nocturne

1946 Deray, J.

Spherical

C (Technicolor)

1.85:1

35mm

35mm



spherical

b&w

1.37:1

35mm

35mm



1.33:1

35mm

35mm



C (Eastmancolor)

2.35:1

35mm

35mm



C (DeLuxe)

1.85:1

35mm

35mm

The outside man

1972

104

The Blue Dahlia

1946?

96

1972

1946

The New Centurions

1972

The Big Sleep

1946

55

Halsted, F.

late 60s America; village development

Cité Films, General Production Company... Paramount Eight of Clubs

Panavision (anamorphic)

cops

Panavision (anamorphic)

111

Culp, R.

Film Guarantors

cops

Spherical

1946

The way we were

1973

118

Pollack, S.

Till the end of time

1946

105

Dmytryk, E.

V/M Productions, Huyck, W, Katz, International Cine Film G. Corp. RKO Pathe Pictures

Messiah of Evil

1973

90

The Devil thumbs a ride

1947

62

Chinatown

1974

130

Polanski, R.

Paramount, Penthouse

The unfaithful

1947

109

Sherman, V.

Warner Bros

political divisions parting relationship WWII veterans re-adjusting to normal life undead cult seaside town

corruption of powerful men over precious water

mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

mono





mono (Western Electric Microphonic Recording)





Film L; 2m (11 reels)

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios 



mono (western Electric Sound System); Filmed in Nevada





Panavision

Panavision









mono (RCA Sound System)



mono (Western Electric Recording)











 Columbia Pictures, Rastar Productionsm Tom Ward Enterprises RKO Pathe Pictures

Film L: 11 reels;







Lab: Technicolor

Chartoff- Winkler Productions, Columbia Pictures

1972

Eastman 100T 5254

C

Fleischer, R.

Hickey & Boggs

Panavision

violent nature of LA represented by people's behavior (esp. sexual)

103

Suspense

Panavision

 

Panavision (anamorphic)as Panavision

C (CFI)

2.35:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

Techniscope

C (Technicolor)

2.35:1

35mm (2-35mm

spherical

b&w

1.37:1

35mm

35mm

C (Technicolor)

2.35:1

35mm

35mm

b&w

1.37:1

35mm

35mm

Panavision (anamorphic)

spherical

Panavision Panaflex

Panavision C-Series Lenses

Eastman 100T 5254













mono (RCA Sound Film L: 2,877.6 System) 





LA Plays itself

Nobody lives forever

Marshall, G.

20th Century Fox Producers Releasing corporation





Flareup

Ulmer, E.G.

mono (Western Electric Sound System)



1.85:1

C (Metrocolor)



























1944





1969

Gone in sixty seconds

Beyond the Valley of the Dolls Detour







Adam-12 (Log71: I feel like a fool, Malloy) Dragon Seed

visions on LSD

Eastman 50T 5251



Prescription: Murder

Meshes of the Afternoon

Adam-12 (Log112: You blew it) Bathing Beauty

DA's daughter falls in love with a gangter

Panavision (anamorphic)as Panavision spherical











mono (RCA Sound System)

1975 1933

97 65

The Day of the Locust China Girls

1975 1933

144

Hollywood Boulevard Babbitt

1976 1934

83 74

Two-minute warning Three Smart Girls

1976 1936

115 84

The Choirboys A star is born

1977 1937

Annie Hall Hollywood Cavalcade

1977 1939

Killer of sheep

1977

119 111 93 97

Gerima, H. Sedgwick, E.

MGM

Schkesinger,J.

Paramount, Long Road

Arkush, A., Dante, J. Keighley, G.

New World Pictures Warner Bros

Peerce, L. Joster, H.

Filmways Pictures, Universal Universal Pictures

Aldrich, R. Wellman, W. Allen, W. Cummings, I., Keaton, B.

Airone Productions, Lorimar Film Entertainment, PAC Selznick international Cinematografica

b&w b&w

1.37:1

16mm 35mm

16mm 35mm



spherical

crushed dreams of fame of desperate people

Spherical

T

1.85:1

35mm

35mm

the glitz and sparkle of Zenith- self-proclaimed Hollywood B-class films 'fastest growing community in America'. George- property developer and realtor mass killing plan in football stadium sisters attempting to reunite divorced parents

Spherical spherical

C (Metrocolor) b&w

1.85:1 1.37:1

35mm 35mm

35mm 35mm

Panavision (anamorphic)

C (Technicolor) b&w

2.35:1 1.37:1

35mm 35mm

35mm 35mm

C (Technicolor) C (Technicolor)

1.85:1 1.37:1

35mm 35mm

35mm 35mm

C (DeLuxe) bw

1.37:1 1.37:1

35mm 35mm

35mm 35mm

C (Technicolor) b&w

1.37:1

16mm

16mm

1.37:1

35mm

35mm (blowup) 35mm

1.85:1

35mm

35mm

1.37:1

35mm

35mm 70mm (blowip)

Pictures

After-hours debauchery by cops young actress chasing stardom dreams in Hollywood meets and alcoholic lead actor

Spherical spherical

Rollins-Joffe Productions 20th Century Fox

New Yorker follows his love to LA Newly-discovered star vs. director

Spherical spherical

83min Burnett, Ch.

DA's daughter falls in love with a gangter

1941

107

LeRoy, M.

MGM

Days of Heaven

1978

94

Malick, T.

Paramount

Spherical

This gun for hire

1942

81

Tuttle, F.

Paramount

spherical

Deren,M., Hammid, A. Schrader, P.

Maya Deren Experimental Films Paramount

1943

14

American Gigolo

1980

117

Panavision

Eastman 100T 5254

Spherical

Johnny Eager

Meshes of the Afternoon

Panavision

spherical

spherical

snippets of memories? Dreams? “importance of luxury apparel and a wealthy lifestyle to status in Los Angeles”

Spherical

Lab: Movielab

b&w Panavision Panaflex

Panavision Panaflex

C (Metrocolor) golden

b&w

Bolex Camera

b&w

1.37:1

16mm

16mm

C (Metrocolor)

1.85:1

35mm

35mm

C

1.85:1

35mm

35mm

The White cliffs of Dover

1944

126

Brown, C.

MGM

The onion field

1979

122

Becker, H.

Black Marble Productions

criminal drama

Spherical

Bathing Beauty

1944

101

Sidney, G.

MGM

break up of a relationship

spherical

C (Technicolor)

1.37:1

35mm

35mm

The Black Marble

1980

113

Becker, H.

Black Marble Productions

cops falling in love

Panavision (anamorphic)

C (DeLuxe)

2.35:1

35mm

35mm

MGM Walt Disney Pictures

invasion of a Chinese village by the Japanese teenagers on scavage hunt car theft disco roller rink in old Pan Pacific Auditorium

Bucquet,H., Conway, M., J. Nankin, Wetcher, D.

Dragon Seed

1944

148

Midnight madness

1980

112

Gone in sixty seconds

1944

105

Halicki, H. B.

Xanadu

1980

96

Greenwald, R.

H>B. Halicki Mercantile Co. Universal

Double indemnity

1944

107

Wilder, B.

Paramount

spherical

Body double

1984

114

De Palma, B.

Columbia Pictures

Spherical

Hollywood Canteen

1944

124

Daves, D.

Under the rainbow

1981

98

Rash, S.

Warner Bros Innovision, ECA, Orion Pictures

Detour

1945

67

Ulmer, E.G.

Mildred Pierce

1945

111

Curtiz, M.

121

Wenders, W.

Producers Releasing corporation

The State of things

1982

1946

Fast Times at Ridgemont High The Blue Dahlia

1982

90

Heckerling, A.

Universal, Refugee Films

1946?

96

Marshall, G.

Paramount

Blade Runner

1982

117

Scott, R.

Nobody lives forever

1946

The Ladd Company, Shaw Brothers, Warner Bros.

Nava, G.

American Playhouse, Channel Four Films, Independent Productions

1946

Sudden Impact

1983

Suspense

1946

El Norte

1983

141

Till the end of time

1946

105

Dmytryk, E.

RKO Pathe Pictures

Valley Girl

1983

99

Coolidge, M.

Valley 9000

The Devil thumbs a ride

1947

62

The unfaithful

1947

109

Panavision Panaflex

spherical

b&w

Sepiatone

1.37:1

C (Technicolor)

Spherical

Arriflex

Arriflex

Panavision Panaflex

Panavision Panaflex

Eastmancolor

35mm

35mm

35mm

35mm







Spherical











2061 LA saturated with fluorescent lights & megascale light billboards

Panavision (anamorphic)



Spherical

WWII veterans re-adjusting to normal life Cross-class struggle

Spherical







b&w

1.37:1

35mm

35mm



1.85:1

35mm

35mm











1.85:1 1.37:1

35mm

35mm

b&w

1.37:1

35mm

35mm

C (Technicolor)

1.85:1

35mm

35mm



b&w

1.37:1

35mm

35mm



C (Technicolor)

2.35:1

C (DuArt Film)

1.78:1

Film L: 2,938.9 (11 reels); Filmed in the Studio.

mono (Western Electric Microphonic Recording)

RKO Pathe Pictures

spherical

b&w

1.37:1

35mm

35mm

Warner Bros

spherical

b&w

1.37:1

35mm

35mm

Filmed in Canada

Filmed in Studios

mono; silent













 





mono (Western Electric Sound System)

Film L: 11 reels;

mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

mono 

























mono (Western Electric Microphonic Dolby Recording)





Film L; 2m (11 reels) Filmed in Lautner's Chemosphere House

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios mono mono (western Electric Sound System); Filmed in Nevada









mono (RCA Sound System)



mono (Western Electric Recording)

















Filmed in Bradbury Building





35mm

35mm

filmed in now demolished Gilmore Drive-in theatre Filmed in WarnerBros sutdios

mono (western Electric Sound System)



(specia l 35mm effects 70mm 2.20:1 (35mm (blowup)

35mm

Film L: 7 reels





35mm

mono (western Electric Sound System)

filmed in majority in NY Film L: 2,757,.38m(11 reels); Filmed in Studios.



 



C (Technicolor)pr b&w ints

35mm

Filmed in WarnerBros sutdios

mono (Western Electric Mirrophonic recording)







35mm

1.37:1

mono





35mm

1.85:1

800m (3reels)

Film L: 3,046.48 (12 reels)



1.85:1

C

mono (western Electric Sound System)

Electric Sound System Noiseless





1.85:1

b&w

Film length: 2,225m (8 reels); Filmed in WB studios





35mm

Arriflex

(Vitaphone) (Western Electric Spind



35mm

Arriflex







35mm

spherical









C (Consolidated Film Industries) T

35mm

\Film length: 600m (2 reels)

portraying Switzerland and NY; Filmed in Universal Studios





35mm

Arriflex BL







begging life in LA by Mayan Indian immigrants

silent



1.37:1

Eastman 100T 5254

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

mono (Western Electric Recording)



1.78:1

Super High Speed Lenses





 

b&w

Panavision Panaflex Gold, Panavision C-Series

silent

mono

C (DeLuxe)

Ultracam 35

notes





Panavision Panaflex

Ultracam 35





Panavision Panaflex

spherical

sound mix

mono (RCA photophone system)

 

b&w

high school life in the Valley

 



C (Metrocolor)

spherical



 









Page 2 Sherman, V.



BACKDROP

mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios

Panavision Panaflex

spherical





Panavision Panaflex

spherical

Artificial Eye, Gray City, Musidora Films Warner Bros

Nocturne

The Big Sleep

soldier manages a kiss from a girl hotel overbooked with all sorts of characters

Panavision Panaflex



Santa Monica Mountains

the lives of black population in the city water down beer during (after?) prohibition



Topanga

35mm 35mm

The pomona Valley

35mm 35mm

Malinbu

1.33:1 1.37:1

San Gabriel Valley

C (Technicolor) b&w

Arcadia

Spherical spherical



Ennis House filming

Eastside



Northeast

35mm 35mm

Griffith Park

35mm 35mm

Hollywood Hills W

1.85:1 1.37:1

Hollywood Hills

C (Technicolor) b&w

Stahl House, HH W

Spherical spherical

Micro-chips implanted into a man's brain lead to violence becoming a pleasure

Ennis-Brown house, LF

35mm 35mm

Los Feliz

35mm 35mm

Chinese Theatre, H. Blvd

1.37:1 1.37:1

Hollywood Blvd, H

EK, ITC Entertainment First National Pictures(controlled WB)

C (Metrocolor) b&w

Paramount Studios, H

Richards, D. Curtiz,M., Dieterle, W.

Spherical spherical

mental instability

Hollywood Sign, H

95 60

35mm 35mm

Hollywood

1975 1933

35mm 35mm





Farewell, my lovely Female

2.35:1 1.37:1



Hancock park

Warner Bros Hal Roach Studios

b&w



Fairfax

Hodges, M. Parrott, J.

spherical

Sunset Blvd, WH

107 29

70mm 35mm (blow up)

Sunset Strip, WH

1974 1932

35mm



Central L.A.

West Hollywood

The Terminal Man The Music Box

1.37:1 2.20:1



Elysian Park

Faces RKO Pathe Pictures

b&w C (Technicolor)



Echo Park

Cassavetes, J. Cukor, G.

Panavision (anamorphic)as spherical Panavision

destruction of L.A. by an earthquake



East L.A.

155 88

35mm







1974 1932

35mm



East Hoillywood

A woman under an influence What Price Hollywood?

1.33:1



Chinatown

Warner Bros.

b&w

Eastman 100T 5254

Koreatown

Wellman, W.

spherical

Panavision C-Series Lenses

Westlake

83

35mm

Panavision Panaflex

Pico-Union

1931

35mm

Panavision spherical (anamorphic)

Mid City

The Public Enemy

1.33:1 2.35:1

corruption of powerful men over precious water



Bunker Hill, DwnTwn

First National Universal Pictures(controlled WB)

b&w C (Technicolor)



Downtown

LeRoy, M. Robson, M.

35mm (2-35mm

Westwood

79 123

2.35:1

Bel-Air

1931 1974

C (Technicolor)

synopsis





Brentwood

Little Caesar Earthquake

Techniscope

undead cult seaside town

35mm

Getty Mansion, PP

Hal Roach Studios

35mm

Pacific Palisades

Bruckman, C.

2.35:1



Westside Sheats House, BH

19

C (CFI)

The Harbor

Santa Monica Blvd, BH

1927 1974

Panavision (anamorphic)as Panavision

South Bay

Century City

The Rockford Putting Pants Files on Philip (backlash of the Hunter)

EYE (as seen)

West los Angeles

Keyston Film Company Paramount, Penthouse

TIME STAMP(s)

Santa Monica

Sennett, M. Polanski, R.

TOTAL TIME

Culver City

11 130

NATURALARTIFICIA

Marina del Rey

1913 1974

NIGHT

Venice

A muddy romance Chinatown

DAY

Downey

YEAR

V/M Productions, Huyck, W, Katz, International Cine Film G. Corp. DIRECTOR 'STUDIO'

PIXELS

SETTING FILIMING LOCATIONS  South L.A. Southeast

Huntington Park

MOTION PICTURE 'COLOR'

90 RUN TIME

HUE

ATMOSPH HYPERCITY ERE REALIST AMBIENC (haze, IC E CAMERA smog) (as capture  d)

REALISTIC

Lynwoodd

1973

SPECTRUM

STREET LIGHT COL.TEMP

Historic South-Central

Messiah of Evil

STOCK TYPE

GOLDEN HOUR

Leimert Park

118

LENSES

FORMAT 1.85:1 35mm 35mm PRINASPECT NEGATIVE TED RATIO

Exposition Park

1973

CAMERA

C (DeLuxe)

Lakewood

The way we were

Bush mama What? No beer?

Pollack, S.

Columbia Pictures, Rastar political divisions parting Productionsm Tom Ward relationship Enterprises

SOURCE

Panavision

Carson

MASTER

FILM STOCK CHARACTERISTICS Panavision

Long Beach

Spherical

cops



San Pedro

Film Guarantors

CINEMATOGRAPHIC REPRESENTATION LIGHTING

Inglewood

Culp, R.

35mm



111

35mm

Westchester

1972

2.35:1

PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS Hickey & Boggs

Sheet1

C (Eastmancolor)

Panavision (anamorphic)

cops

Playa del Rey

Chartoff- Winkler Productions, Columbia Pictures

Gardena

Fleischer, R.

Torrace

103

elsewhere in L.A.

1972

Rancho Palos Verdes

The New Centurions













mono (RCA Sound Film L: 2,877.6 System)

mono (RCA Sound System)

Sheet1

1985

91

Mora, P.

111

Wellman, W.

Hemdale Film Selznick international Pictures

chase through Europe and US young actress chasing stardom dreams in Hollywood meets and alcoholic lead actor

Spherical

1937

LA as NY, Chicago or Detroitfallen? Newly-discovered star vs. director

To live and die in L.A.

1985

116

Hollywood Cavalcade

1939

97

Friedkin, W. Cummings, I., Keaton, B.

SLM Production Group, New Century Productions, United Artists th

20

Century Fox

35mm 35mm

35mm 35mm

mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios

1.37:1

35mm

35mm

b&w C (Technicolor)

1.37:1 1.85:1

35mm 35mm

35mm 35mm

b&w C

1.37:1 1.33:1

35mm 35mm

Master ration 35mm 35mm 1.33:1; 1.85:1 output?

b&w C

1.37:1 1.33:1

35mm 35mm

35mm 35mm



C (CFI)

1.85:1

35mm

35mm



1.33:1

35mm 35mm

35mm 35mm



siblings reunited;

spherical

b&w C (Metrocolor)

1.37:1

35mm 35mm

investigation by a tennis coach's student into his death

spherical Spherical

b&w C (Technicolor)

1.37:1 1.85:1

spherical

b&w

spherical Spherical

investigation into killing of Ennis House filming a film producer

spherical Spherical

cvalley girls survive water down beer during Armageddon event to fight (after?) prohibition zombies

spherical Spherical





b&w

1.37:1

35mm

35mm

Spherical

C (Technicolor)

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm

C (Kay Laboratories) C (Technicolor)

1.85:1

35mm

35mm

spherical

1.37:1

35mm

35mm

Spherical

C (Technicolor)

1.85:1

35mm

35mm

spherical

bw

1.37:1

35mm

35mm

C (Technicolor) C (DeLuxe)

1.85:1

35mm

35mm











spherical

C b&w (Eastmancolor)

1.37:1

35mm 35mm

35mm 35mm



1943 1986

14 103

Deren,M., Lumet, Hammid,S.A.

Maya Deren Experimental American Filmworks, Films Lorimar Productions

Re-appearing body and blacksnippets of memories? Dreams? outs of a woman

spherical Spherical

Bolex Camera Panavision Panafles

Panavision Panafles

b&w C (DeLuxe)

1.37:1 1.85:1

16mm 35mm

16mm 35mm



1944 1986

126 87

Brown, C. G.P. Cosmatos,

Warner Bros, CannonGroup, cop living in swanky Venice MGM Golan-Globus Productions loft

Spherical

Arriflex 35-II

Cooke Varotal Lenses

C (Technicolor)

1.85:1

35mm

35mm



1.37:1

35mm

70mm (blow up) 35mm



1.37:1

35mm

35mm



Panavision Panafles

Panavision Panafles

Panavision Super Speed MKII

MGM

break up of a relationship

mono (western Electric Sound System)

Film L: 7 reels

mono

Filmed in WarnerBros sutdios

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

Electric Sound System Noiseless

Film L: 3,046.48 (12 reels)

mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.

mono (western Electric Sound System)

Film L: 2,938.9 (11 reels); Filmed in the Studio.



mono (Western Electric Microphonic Recording)

Filmed in Studios



mono; silent





spherical

C (Technicolor)







 

planned destruction of the city by a spy

Sidney, G.

Filmed in in Canada. WarnerBros sutdios Filmed TV movie



















Harold Goldman Paramount Associates, United Pitcures (II)

Spherical





Tuttle,E.F. Davis,

101

mono





81 97

1944

800m (3reels)



35mm 35mm

The White cliffs of Dover Cobra

mono (western Electric Sound System)

C (DeLuxe)

spherical

35mm 35mm

Meshes of the Afternoon The morning after





1.37:1 1.85:1

1942 1986





b&w C (TVC)

This gun for City hire Panic in the

mono (RCA photophone system)







spherical Spherical

107 110





DA's daughter falls in love with a gangter

1941 1986

Bathing Beauty



MGM Cannon Group

Johnny Eager 52 Pick-up





Frankenheimer, LeRoy, M. J.

93

Eastside

Film length: 2,225m (8 reels); Filmed in WB studios

b&w b&w

Tuggle, R.

1986

Northeast

(Vitaphone) (Western Electric Spind

spherical



Columbia Pictures, Delphi Mix-up of bag V Productions, Fogbound Productions

Out of Bounds























Ultra Speed MKII

Dragon Seed

1944

148

Bucquet,H., Conway, J.

Gone Than in sixty Less Zero seconds

1944 1987

105 98

20th Amercent “culture od wealth and H>B. Century HalickiFox, Mercantile car theft that dominated much Halicki, H.M.B. Films, American Entertainment decadence Kanievska, Co. Partners L.P. of Los Angeles in the '80s”

Double indemnity

1944

107

Wilder, B.

MGM

invasion of a Chinese village by the Japanese

spherical

b&w

Panavision Panaflex Gold

Arriflex

Arriflex

Eastmancolor

Sepiatone

C (Consolidated Film b&w Industries)



1.85:1 1.85:1





 





Death Wish 4: The Crackdown Hollywood Canteen

1987

99

Thompson, j.L.

Cannon Group

1944

124

Daves, D.

Warner Bros

spherical architect goes to war with drug dealers soldier manages a kiss from a girl

Spherical

Panavision

Panavision

spherical





1945

67

Ulmer, E.G.

Producers Releasing corporation

Mildred Pierce Timestalkers

1945 1987

111 100

Curtiz, M. Schultz, M.

Fries Entertainment, Warner Bros Newland/ Raynor Productions

Nocturne Who Framed Roger Rabbit

1946 1988

104

Zemeckis, R.

Touchstone Pictures, Amblin Entertainment, Silver Screen Partners III

Sci-fi

“corruption to make rich men richer”



C (TVC)

1.33:1

35mm

35mm

b&w

1.37:1

35mm

35mm

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios mono (western Electric Sound System); Filmed in Nevada



35mm

35mm

spherical Spherical

b&w C (CFI)

1.37:1 1.33:1

35mm 35mm

35mm 35mm

C (DeLuxe)

1.85:1

35mm

35mm

1.37:1

35mm

70mm (blow up) 35mm (blowup; Eastman

1.85:1

35mm

35mm



2.20:1

35mm

70mm (blow up)



2.35:1

65mm (sp35mm

1.37:1

35mm

VistaVision (effects shots)

The Blue Dahlia

1946?

96

Marshall, G.

Paramount

VistaFlex cameras

Agfa XT 320 Eastman 125T 5247

spherical Eastmant 400T 5294

Nobody lives forever

1946

The Big Sleep Alien from L.A.

1946 1988

87

Suspense Die Hard

1946 1988

131

Till the end of time

1946

mono

35mm

1.37:1 1.85:1

Panavision Panafles

LA plays China! Film L: 15 reels

35mm

b&w

Panavision Panafles

mono (Western Electric Sound System)

1.37:1

spherical

Spherical

Film L: 11 reels;

b&w



1.37:1

Detour

mono (Western Electric Sound System)

mono (Western Electric Microphonic Recording)

C

Paramount

Santa Monica Mountains

Howling II:...Your Sister is a Warewolf A star is born

Topanga

Universal Pictures

The pomona Valley

Universal

Joster, H.

Malinbu

Landis, J.

84

San Gabriel Valley

115

1936

Arcadia

1985

Three Smart Girls

Griffith Park

Into the night

Zenith- self-proclaimed 'fastest growing community in America'. George- property developer and realtor chase and drive thr' LA's streets sisters attempting to reunite divorced parents

Hollywood Hills W

Warner Bros

Hollywood Hills

Keighley, G.

Stahl House, HH W

74

Ennis-Brown house, LF

1934

Los Feliz

Babbitt

35mm 35mm



Eastman 250T 5293

notes

\Film length: 600m (2 reels)

35mm 35mm

Spherical

Hollywood Blvd, H

Hemdale Film, Pacific Western, Euro Film Funding

Paramount Studios, H

Cameron, J.

Hollywood Sign, H

107

Hollywood

1933 1984

Hancock park

China Girls The Terminator

sound mix

silent

35mm 35mm

Arriflex

Fairfax

MGM

Sunset Blvd, WH

Sedgwick, E. Eberhardt, T.

Sunset Strip, WH

65 95

West Hollywood

1933 1984

Elysian Park

What? of No the beer? Night comet

Echo Park

HBO, Telepictures First National Corporation, Trincomali Pictures(controlled WB) Film Productions

East L.A.

Curtiz,M., Margolin, Dieterle, S. W.

East Hoillywood

60 94

Chinatown

1933 1984

Koreatown

Female The glitter dome

Westlake

Hal Roach Edge City Studios

Pico-Union

Parrott, Cox, A. J.

Mid City

29 92

Bunker Hill, DwnTwn

1932 1984

Downtown

The Music Repo Man Box

Westwood

RKO Pathe Pictures

Bel-Air

Cukor, G.

Brentwood

88

Getty Mansion, PP

1932 1984

Pacific Palisades

What Price Hollywood? Dragnet



BACKDROP

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

1.33:1 1.85:1

Panavsion



Central L.A.

silent

b&w C

Panavsion

Sheats House, BH

Warner Bros. Skyewiay

Santa Monica Blvd, BH

Wellman, J. W. Bridges,

Century City

83 109

West los Angeles

1931 1984

Santa Monica

The Public Enemy Mike's murder

Culver City

First National Cannon Films Pictures(controlled WB)

Westside

Marina del Rey

LeRoy, M. Cassavetes, J.

South L.A. Southeast

Venice

79 141

The Harbor

Downey

1931 1984

spherical Spherical

South Bay

Huntington Park

Little Caesar Love streams

EYE (as seen)

Lynwoodd

Hal Roach Studios

TIME STAMP(s)

Sheet1

synopsis escapee from Vegas steals a car to drive to LA

TOTAL TIME

Historic South-Central

Bruckman, C. Woodberry, B.

NATURALARTIFICIA

Leimert Park

19 80

Panavision Panaflex

NIGHT

Exposition Park

1927 1984

Panavision Panaflex

DAY

Lakewood

Putting Pants on Philip Bless their little hearts

'STUDIO'

PRINTED

Carson

Breathless Associates, Keyston Film Company Miko Productions

NEGATIVE

Long Beach

Sennett, J. M. McBride,

ASPECT RATIO

San Pedro

11 100

PIXELS

Inglewood

1913 1983

HUE

Westchester

DIRECTOR

A muddy romance Breathless

SPECTRUM

Playa del Rey

RUN TIME

STOCK TYPE

SETTING FILIMING LOCATIONS

ATMOSPH HYPERCITY ERE REALIST AMBIENC (haze, IC E CAMERA smog) (as capture d)

REALISTIC

Gardena

YEAR

LENSES

STREET LIGHT COL.TEMP

Torrace

MOTION PICTURE 'COLOR'

CAMERA

GOLDEN HOUR

elsewhere in L.A.

SOURCE

FORMAT

Rancho Palos Verdes

MASTER

LIGHTING

FILM STOCK CHARACTERISTICS

Chinese Theatre, H. Blvd

CINEMATOGRAPHIC REPRESENTATION PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS

C (Metrocolor)

b&w C (Rank Film Lanoratories)



Eastman 5384















mono (RCA Sound TV movie System)



mono (Western Electric Recording)

Eastmant 5384 







Film L; 2m (11 reels)

Eastman 5250D 5297

105

Golan- Globus Productions missing father in an

McTiernan, J.

20th Century Fox, Gordon Company, silver Pictures

Dmytryk, E.

The Devil thumbs a ride

1947

62

Miracle Mile

1988

87

De Jarnatt, S.

The unfaithful

1947

109

Sherman, V.

35mm negative C & 65mm negative special effects)

a teenager searches for her

Pyun, A.

underground civilization

Panavision (anamorphic)

Panavision

Eastman 400T 5259

C (DeLuxe)

Eastmant 125T 5247)

RKO Pathe Pictures

WWII veterans re-adjusting to normal life

spherical

RKO Pathe Pictures Hemdale Film, Miracle Mile Productions Inc.

nuclear missile heading toward USA

Spherical

Warner Bros

Panavision

b&w

spherical

spherical

Moviecam Super





mono (RCA Sound Film L: 2,877.6 System)

35mm 8mm (anamor phic)

b&w

1.37:1

35mm

35mm

C (CFI)

1.85:1

35mm

35mm



b&w

1.37:1

35mm

35mm

















mono (RCA Sound System)

Female

1933

60

Curtiz,M., Dieterle, W.

First National Pictures(controlled WB)

Ennis House filming

L.A. Vice What? No beer?

1989 1933

80 65

Merhi,J. E. Sedgwick,

PM Entertainment Group, Raedon Entertainment MGM Group

L.A. Takedown China Girls

1989 1933

97

Mann, M.

L.A. Heat Babbitt

1989 1934

85 74

L.A. Bounty Three Smart Girls

1989 1936

Predator A star is2born

1990 1937

b&w

1.37:1

35mm

70mm prints 35mm

Eastman 5384 Eastman 5384

1939

















Eastside

Northeast







BACKDROP

sound mix

notes

silent

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

silent

\Film length: 600m (2 reels)

(Vitaphone) (Western Electric Spind

Film length: 2,225m (8 reels); Filmed in WB studios

C (Technicolor)

2.20:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm 70mm (blow up)

spherical

b&w

1.37:1

35mm

35mm

Spherical

C

1.85:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

C (Technicolor)

2.20:1

35mm

35mm

spherical

b&w

2.35:1 1.37:1

35mm

70mm (blow 35mm up)

water down beer during kidnap and ransom (after?) prohibition

spherical

C b&w

1.37:1

35mm

35mm

Ajar Inc, Comañia Iberocamerica de TV, Movies Film Productions

bank robbers pursued by a cop

Spherical

C (CFI)

1.33:1

35mm

Video (NTSC)

Merhi,J. G. Keighley,

PM Entertainment Group Warner Bros

Zenith- self-proclaimed 'fastest growing community in America'. George- property developer and realtor

spherical

C b&w

1.37:1

35mm

35mm

mono

Filmed in WarnerBros sutdios

81 84

Keeter, Joster, W. H.

Noble Entertainment Group, Alpine Releasing Universal Pictures Group Ltd.

sisters attempting to reunite divorced parents

C (FotoKem) b&w

1.37:1

35mm

35mm

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

108 111

Hopkins, W. S. Wellman,

Davis Entertainment, Lawrence young actress chasing stardom Selznick international Gordon Productions, Silver dreams in Hollywood meets and Pictures Pictures alcoholic lead actor

C (DeLuxe) C (Technicolor)

1.37:1

35mm

35mm



Film L: 3,046.48 (12 reels)

1.37:1

35mm

70mm (blow up) 35mm

Electric Sound System Noiseless



mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.



mono (western Electric Sound System)

Film L: 2,938.9 (11 reels); Filmed in the Studio.

mono (Western Electric Microphonic Recording)

Filmed in Studios

2.35:1

Hollywood Cavalcade





70mm (

Santa Monica Mountains

104



35mm

70mm prints

Topanga

1989

The pomona Valley

Tango & Cash

Malinbu

29

San Gabriel Valley

1932

Arcadia

The Music Box

Griffith Park

112

Hollywood Hills W

1989

Hollywood Hills

Karate Kid III

Stahl House, HH W

Cukor, G.

Eastman 400T 5259

Ennis-Brown house, LF

88

Panavision

Los Feliz

1932

Panavision

Chinese Theatre, H. Blvd

What Price Hollywood?

Panavision (anamorphic)

Hollywood Blvd, H

warner Bros., Silver Pictures Warner Bros.

Paramount Studios, H

Wellman, W.

Hollywood Sign, H

Donner, R.

83

2.35:1



Hollywood

114

1931

Eastman 250T 5293



Hancock park

1989

The Public Enemy

Panavision

spherical

Fairfax

Lethal Weapon 2

70mm 35mm (an35mm (blow up)

Sunset Blvd, WH

First National Pictures(controlled WB)

2.20:1 1.33:1

Sunset Strip, WH

LeRoy, M.

C (Technicolor) b&w

West Hollywood

79

Eastman 400T 5259

Elysian Park

1931

Panavision

Echo Park

Little Caesar

Beaulieu Cine 8

East L.A.

Super 35 spherical

East Hoillywood

NY cops escorting a Yakuza member to Japan

Chinatown

Paramount, JaffeLansing, Hal Roach Pegasus Studios Film Partners

Koreatown

Scott, R. C. Bruckman,

35mm

Westlake

125 19

1.33:1

Pico-Union

1989 1927

C b&w

Central L.A.

Mid City

Black Rain Putting Pants on Philip

8mm footage

Bunker Hill, DwnTwn

spherical



Downtown

cop tracknig drug dealers after an addict dies

synopsis

Westwood

Keyston Film Company



35mm

Bel-Air

Merhi,J. Sennett, M.

35mm

Brentwood

11

1.85:1

Getty Mansion, PP

1988 1913

C (CFI)

Pacific Palisades

L.A. Crack down A muddy romance

'STUDIO'

Moviecam Super

Westside Sheats House, BH

YEAR

DIRECTOR

Spherical

South L.A. Southeast

Santa Monica Blvd, BH

MOTION PICTURE 'COLOR'

87 RUN TIME

The Harbor

Century City

nuclear missile heading toward USA

1988

South Bay

West los Angeles

De Jarnatt, S.

Hemdale Film, Miracle Mile Productions Inc.

Miracle Mile

EYE (as seen)

Santa Monica

TIME STAMP(s)

Culver City

TOTAL TIME

Marina del Rey

NATURALARTIFICIA

Venice

NIGHT

Downey

DAY

8mm (anamor phic)

SETTING FILIMING LOCATIONS



Huntington Park

PIXELS

ATMOSPH  HYPERCITY ERE REALIST AMBIENC (haze, IC E CAMERA smog) (as capture d)

REALISTIC

Lynwoodd

HUE

STREET LIGHT COL.TEMP

Historic South-Central

SPECTRUM

LIGHTING GOLDEN HOUR

Leimert Park

EastmantSTOCK 125T 5247) TYPE

70mm (blow 35mm FORMAT up) PRINASPECT NEGA2.35:1 TIVE(sp35mm TED RATIO 65mm

2.20:1

Exposition Park

LENSES

C (DeLuxe)

Lakewood

CAMERA



CINEMATOGRAPHIC REPRESENTATION

Carson

SOURCE

PHOTOGRAPHY Eastman 400T 5259 FILM STOCK CHARACTERISTICS

Panavision

Sheet1

35mm

Long Beach

MASTER

Panavision

35mm

San Pedro

CINEMATOGRAPHIC PROCESS Panavision (anamorphic)

1.85:1

Inglewood

20th Century Fox, Gordon Company, silver Pictures

C & 65mm negative special effects)

Westchester

underground civilization

Playa del Rey

McTiernan, J.

Golan- Globus Productions missing father in an

Gardena

131

Pyun, A.

Torrace

1988

87

elsewhere in L.A.

Die Hard

1988

Rancho Palos Verdes

Alien from L.A.

97

Avildsen, J.G.

RKO Pathe Pictures, Pictures Columbia Weintraub international Group

Parrott, J. Hal Roach Studios Konchalovsky, Warner Bros, /the GuberA., Magnoli, A. Peters Company

Cummings, I., Keaton, B.

framed cops

Panavision (anamorphic)

Spherical spherical

Panavision

Panavision

Panavision

Arriflex

Arriflex

Arriflex 35-II

Panavision Primo Lenses

Panavision Panaflex Gold II

20th Century Fox

Newly-discovered star vs. director

Eastman EXR 50D 5245 Eastman 125T 5247

spherical

bw Panavision Panaflex Gold II

 

70mm prints



mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios mono (RCA photophone system)









 





mono (western Electric Sound System)

800m (3reels)

mono

Filmed in WarnerBros sutdios

mono (western Electric Sound System)

Film L: 7 reels



TV movie















Eastman EXR 500T 5296

C (Technicolor) Von Zerneck Sertner Films

LeRoy, M.

MGM

Pretty Woman

1990

119

Marshall, G.

This gun for hire

1942

81

The First Power

1990

98

Meshes of the Afternoon

1943

14

The Adventures of Ford Fairdale The White cliffs of Dover

Tuttle, F.

Touchstone Pictures, Silver Screen Partners IV Paramount

Resinkoff, R. Deren,M., Hammid, A.

Interscope Communications, Nelson Maya Deren Experimental Entertainment Films

1990

104

Harlin, R.

1944

126

Brown, C.

The Rookie

1990

120

Eastwood, V.Q.

Bathing Beauty

1944

101

Sidney, G.

20th Century Fox, silver Pictures MGM Warner Bros, Malpaso Productions, Kazanjian/Siebert Productions

MGM

DA's daughter falls in love with a gangter

Spherical

C

1.33:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

C (Technicolor)

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm

C (DeLuxe)

1.85:1

35mm

35mm

b&w

1.37:1

16mm

16mm

C (DeLuxe)

2.35:1

35mm

C (Technicolor)

2.20:1

C (Technicolor)

1.37:1

Spherical

snippets of memories? Dreams? murders in music industry

Spherical

Panavision

spherical

Bolex Camera

Panavision (anamorphic) break up of a relationship

Dragon Seed

1944

148

Bucquet,H., Conway, J.

MGM

invasion of a Chinese village by the Japanese

Gone in sixty seconds

1944

105

Halicki, H. B.

H>B. Halicki Mercantile Co.

car theft

Carolco Pictures, Pacific Western, Lightstorm Entertainment

1991

137

Cameron, J.

1944

107

Wilder, B.

Hollywood Canteen

1944

124

L.A. Story Detour

1991 1945

95 67

Boys n the Hood Mildred Pierce

1991 1945

112 111

Nocturne

1946

Warner Bros

Jackson, M. Ulmer, E.G.

Carolco Pictures, Producers Releasing IndieProd Company corporation Productions, L.A. Films

Singleton, Curtiz, M. J.

Columbia Pictures Warner Bros

Panavision

Arriflex 35-III

Panavision Super High Speed

Eastman EXR 100T 5248

spherical

spherical

Panavision Panaflex X

Eastman EXR 500T 5296

Bell & Howell Eyemo

Arriflex Super 35

Arriflex 35 BL4

Arriflex Zeiss Super Speed

spherical

satire of L.A. peoplewalking talking billboard

Spherical spherical

“depiction of life in South Central Los Angeles”

Spherical spherical

35mm

35mm



2.20:1

35mm

1.37:1

35mm

Eastman EXR 500T 5296

2.35:1

b&w

1.37:1

35mm

35mm

C (Technicolor) b&w

1.85:1 1.37:1

35mm

35mm

C (DeLuxe) b&w

1.85:1 1.37:1

35mm

35mm

C (Technicolor)

Point Break

1991

122

Bigelow, K.

The Blue Dahlia

1946?

96

Marshall, G.

JVC Entertainment Networks, Largo Entertainment Paramount

surfer (sub)culture (lingo, lifestyle, life approach), the hills vs. the Valley

Super 35

Panavision

Panavision

Eastmant 125T 5247

spherical

Nobody lives forever

1946

The Big Sleep

1946

Grand Canyon

1991

Suspense

1946

134

Kasdan, L.

20th Century Fox

“racial and class divides in Los Angeles”

Panavision (anamorphic)

Panavision Panaflex Gold

Canon & Nikon

2.20:1

35mm

b&w

1.37:1

35mm

Till the end of time

1946

105

Dmytryk, E.

1991

136

Levinson, B.

The Devil thumbs a ride

1947

62

The unfaithful

1947

109

Sherman, V.

WWII veterans re-adjusting to TriStar Pictures, Mulholland normal life beginning of Vegas, via LA to Productions, Baltimore NY Pictures

RKO Pathe Pictures

Panavision Panafles

C (DeLuxe)

2.35:1

35mm



Eastman 5384



Eastman 5384











 



mono (Western Electric Sound System)

Film L: 11 reels;

mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

mono

















mono (Western Electric Microphonic Recording)

Film L; 2m (11 reels)

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios



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mono (western Electric Sound System); Filmed in Nevada





mono (RCA Sound System)

Eastman 5384) Eastman 5384)

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35mm



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mono (Western Electric Recording)



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Eastman EXR 500T 5296

spherical Spherical

2.35:1

35mm (anamor phic) 35mm 70mm (blow up) 70mm blow-up (Eastma n 5384)





Panavision Primo (C- & Eseries)

Bugsy

Eastman EXR 100T 5248

70mmprints

C (DeLuxe)

Eastman EXR 500T 5296





b&w C (Technicolor)prints

mono; silent



Eastman 5384

C (CFI)

Arriflex



35mm 70mm (blow up)

Eastman EXR 500T 5245





35mm

35mm(an amorphi c) 35mm 70mm (blow up)





35mm

70mm prints





35mm

1.85:1

Eastman 250D 5297

Arriflex

1.37:1



Eastman 5384

C (Consolidated Film Industries)

Eastmancolor

spherical

soldier manages a kiss from a girl

Sepiatone

35mm



70mm prints

2.35:1

b&w

Panavision Panaflex Gold

Paramount

Daves, D.

Panavision

Panavision (anamorphic)

VistaVision (visual effects)

Terminator 2: Judgement Day Double indemnity

Panavision

spherical



Eastmant 5384



Elikann, L.

107



180

1941



1990



The Big One: The Great Los Angeles earthquake Johnny Eager

Panavision Panafles

Eastman 400T 52594

b&w

1.37:1

35mm

35mm

C (Technicolor)

1.37:1

35mm

35mm

RKO Pathe Pictures

spherical

b&w

1.37:1

35mm

35mm

Warner Bros

spherical

b&w

1.37:1

35mm

35mm









mono (RCA Sound Film L: 2,877.6 System)

Page 3











mono (RCA Sound System)

Sheet1

Keyston Film Company

Rees, J. C. Bruckman,

Hollywod Pictures, Permut Presentations, Silver Screen Vegas playboy meets a singer Hal Roach Studios Partners IV

Eastmant EXR 500T 5296

spherical

b&w

1.33:1

35mm



35mm

Santa Monica Mountains

Topanga

The pomona Valley

Malinbu

San Gabriel Valley

Arcadia

Eastside

Northeast

Griffith Park

Hollywood Hills W

Hollywood Hills

Stahl House, HH W

Ennis-Brown house, LF

Los Feliz

Hollywood Blvd, H

Paramount Studios, H

Hollywood Sign, H

Hollywood

Hancock park

Fairfax

Sunset Blvd, WH

Sunset Strip, WH

West Hollywood

Elysian Park

Echo Park

East L.A.

East Hoillywood

Chinatown

Koreatown

Westlake

Pico-Union

Central L.A.

Mid City

Downtown

Westwood

Bel-Air

Brentwood

Getty Mansion, PP

Pacific Palisades

Sheats House, BH

Bunker Hill, DwnTwn

Santa Monica Blvd, BH

Century City

West los Angeles

Santa Monica

Culver City

Westside

Marina del Rey

South L.A. Southeast

Venice

The Harbor

Downey

South Bay

Huntington Park

EYE (as seen)

Lynwoodd

TIME STAMP(s)

Historic South-Central

TOTAL TIME

Sheet1

synopsis

Sennett, M.

NATURALARTIFICIA

Leimert Park

NIGHT

Exposition Park

DAY

Lakewood

PRINTED

Carson

NEGATIVE

Long Beach

'STUDIO'

ASPECT RATIO

San Pedro

DIRECTOR

PIXELS

Inglewood

11

HUE

Westchester

1913

SPECTRUM

Playa del Rey

A muddy romance

STOCK TYPE

SETTING FILIMING LOCATIONS

ATMOSPH HYPERCITY ERE REALIST AMBIENC (haze, IC E CAMERA smog) (as capture d)

REALISTIC

Gardena

RUN TIME

LENSES

STREET LIGHT COL.TEMP

Torrace

YEAR

CAMERA

GOLDEN HOUR

elsewhere in L.A.

MOTION PICTURE 'COLOR'

SOURCE

FORMAT

Rancho Palos Verdes

MASTER

LIGHTING

FILM STOCK CHARACTERISTICS

Chinese Theatre, H. Blvd

CINEMATOGRAPHIC REPRESENTATION PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS

BACKDROP

sound mix

silent

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

silent

\Film length: 600m (2 reels)

(Vitaphone) (Western Electric Spind

Film length: 2,225m (8 reels); Filmed in WB studios

Eastman 5384

1992 1931

115 19

108 79

Jaglom, H. LeRoy, M.

First National Rainbow Film Company Pictures(controlled WB)

p movies have had - and continue to have - on our lives, our loves and on our

Post-break in visits from a cop become too frequent

Unlawful entry The Public Enemy

1992 1931

117 83

Kaplan, Wellman,J. W.

Largo Entertainment, JVC Warner Bros. Entertainment Networks

The Player What Price Hollywood?

1992 1932

124 88

Altman, R. Cukor, G.

Avenue Pictures Productions, Spelling Entertainment, Addis RKO Pathe Pictures Wechsler Pictures

American The MusicMan Box

1992 1932

29

Parrott, J.

Hal Roach Studios

Deep Cover Female

1992 1933

107 60

Curtiz,M., Duke, B. Dieterle, W.

Image New First Organization, National Line Productions Pictures(controlled WB)

satire of Hollywood

cop infiltrating drug gang Ennis House filming

Spherical spherical

Panavision Panafles

Panavision Panafles

spherical

C (Technicolor) b&w

1.85:1 1.33:1

35mm

35mm

C b&w

1.85:1 1.37:1

35mm

35mm





Eastman 5384 C (DeLuxe) b&w

1.85:1 1.37:1

35mm

35mm

Spherical spherical

C (DeLuxe) b&w

1.85:1 1.37:1

35mm

35mm

spherical

b&w

1.37:1

35mm

35mm

Spherical spherical

Spherical spherical

Arriflex

Clairmont

Eastmant

Clairmont

C (DeLuxe) b&w

1.85:1 1.37:1

35mm

35mm

1.37:1

35mm

35mm



65

Sedgwick, E.

MGM

water down beer during (after?) prohibition

spherical

96

Flynn, J.

Viacom

cop pursues drug gang

Spherical

C

1.33:1

35mm

35mm

C (Technicolor)

2.35:1

35mm

35mm

b&w

1.37:1

35mm

35mm 



1933

Demolition Man

1993

115

Brambilla, M.

Babbitt

1934

74

Keighley, G.

Kalifornia

1993

117

Three Smart Girls

1936

84

Sena, D.

Joster, H.

Rising sun

1993

129

Kaufman, P.

A star is born

1937

111

Wellman, W.

Dead Connection

1993

93

Hollywood Cavalcade

1939

97

Dick, N. Cummings, I., Keaton, B.

Warner Bros, Silver Pictures Warner Bros

Zenith- self-proclaimed 'fastest growing community in America'. George- property developer and realtor

PolyGram Filmed Entertainment, Viacom Road-trip with serial killer Productions, Propaganda Films sisters attempting to reunite Universal Pictures divorced parents

20th Century Fox, Walrus & Associates Selznick international Pictures

Japanese corp party goes wrong young actress chasing stardom dreams in Hollywood meets and alcoholic lead actor

PolyGram Filmed Entertainment, Viacom Productions, Propaganda Films Newly-discovered star vs. 20th Century Fox director

Short cuts

1993

187

Altman, R.

Fine Line Features, Spelling Films International, Avenue daily lives of suburban LA Pictures Productions

Johnny Eager

1941

107

LeRoy, M.

MGM

Falling Down

1993

113

Schumacher, J

This gun for hire

1942

81

Tuttle, F.

Alcor Films, Canal+, Regency Enterprises Paramount

14

Deren,M., Hammid, A.

Maya Deren Experimental Films

Panavision (anamorphic)

Panavision Panaflex

Panavision Panaflex

spherical Super 35

Spherical

Arriflex

Panavision

Arriflex

Panavision

spherical Arriflex

2.35:1

35mm

1.37:1

35mm

C (DeLuxe)

1.85:1

35mm

35mm

C (Technicolor)

1.37:1

35mm

35mm

1.37:1

prints 35mm 70mm 35mm

C

spherical Spherical

C

b&w

35mm (anamor phic) 35mm

bw Panavision

Panavision

Agfa XT 100

b&w

1.37:1

35mm

35mm (anamor phic) 70mm (blow up) 35mm

C (Technicolor)

2.35:1

35mm

35mm

b&w

1.37:1

35mm

35mm

b&w

1.37:1

16mm

16mm

C (DeLuxe)

2.35:1

35mm

35mm

C (DeLuxe) C (Technicolor)

2.20:1

Agfa XTS 400

Wolf

Meshes of the Afternoon

1994/2013

1943

Pulp Fiction

1994

154

Tarantino, Q.

The White cliffs of Dover

1944

126

Brown, C.

DA's daughter falls in love with a gangter

Miramax Films, A Band Apart, Jersey Films MGM

spherical Panavision (anamorphic)

Panavision Panaflex

Panavision Panaflex

spherical

snippets of memories? Dreams?

spherical

Post-modernist, non-linear film; “dark humor and aggressive weirdness of Los Angeles”

Panavision (anamorphic)

Bolex Camera Panavision

Panavision

Eastman EXR 50D 5245

35mm

2.35:1









1933 1992















What? No beer? Nails

mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios



C(Film House)prints b&w

China Girls









mono (RCA photophone system)

filmed in Palm Springs

mono (western Electric Sound System)

800m (3reels)

mono

Filmed in WarnerBros sutdios

mono (western Electric Sound System)

Film L: 7 reels

mono

Filmed in WarnerBros sutdios

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

Electric Sound System Noiseless

Film L: 3,046.48 (12 reels)

mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.

mono (western Electric Sound System)

Film L: 2,938.9 (11 reels); Filmed in the Studio.

mono (Western Electric Microphonic Recording)

Filmed in Studios

























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 

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 





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

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

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





 

mono; silent 

Venice/Caesar Venice Little

1991 1927



The Marrying Putting Pantsman on Philip

notes

16mm

101 116

Sidney, G. De Bont, J.

MGM

Dragon Seed

1944

148

Bucquet,H., Conway, J.

MGM

invasion of a Chinese village by the Japanese

Gone in sixty seconds

1944

105

Halicki, H. B.

H>B. Halicki Mercantile Co.

car theft

20

th

Century Fox

Corrina, Corrina

1994

115

Nelson, J.

New Line Cinema

Double indemnity

1944

107

Wilder, B.

Paramount

A passion to kill

1994

95

King, R.

Rysher Entertainment

Hollywood Canteen

1944

124

Daves, D.

Warner Bros

Virtuosity

1995

106

Leonard, B.

Detour

1945

67

Ulmer, E.G.

Mildred Pierce Strange days

1945 1995

111 145

Nocturne

1946

The Net Blue Dahlia

1995 1946?

114 96

In Nicklives of Time Nobody forever

1995 1946

90

The Big Sleep

1946

Curtiz, M. Bigelow, K.

Paramount Producers Releasing corporation

break up of a relationship “reflection of L.A. diversity and the perils of traffic”

black/white relationship

spherical Panavision (anamorphic)

Arriflex 35 III

C (Technicolor) C (DeLuxe)

Panavision Primo (C- & Eseries)

VistaVision (special effects) Panavision Panaflex Gold II spherical

Spherical

b&w

Beaumont VistaVision

Panavision Primo

Arriflex

Arriflex

Panavision

Panavision

Eastmancolor

spherical Panavision soldier manages a kiss from a girl virtual marges with reality when killer transcends worlds

Panavision

Zeiss and Cooke

35mm 35mm

1.37:1

35mm

35mm

C (Consolidated Film Industries)

1.85:1

C

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm

1.37:1

35mm

35mm 35mm (anamor phic) 35mm

b&w Arriflex 535B

35mm 35mm

Eastman EXR 200T 5293

spherical

 

















C

spherical Super 35

Sepiatone

1.37:1 2.35:1



1944 1994









  





spherical Super 35

SL 35 camera (pov sequences)

Eastman

mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

Film L; 2m (11 reels)

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios 

C (DeLuxe)

2.35:1

35mm

b&w

1.37:1

35mm

b&w

1.37:1 2.35:1

35mm 35mm

35mm 35mm (anamor phic)

1.85:1 1.37:1

35mm

35mm



1.85:1

35mm

35mm



2.35:1

35mm

35mm



Eastman EXR 100T 5248

Film L: 11 reels;

mono (Western Electric Microphonic Recording)













mono (western Electric Sound System); Filmed in Nevada

Movieam Compact

Warner Bros Lightstorm Entertainment

mono (Western Electric Sound System)

mono



Bathing Beauty Speed

 



mono (RCA Sound System)



mono (Western Electric Recording)



Eastman EXR 500T 5296

Winkler, Marshall,I. G.

Columbia Pictures, Paramount Winkler Films

conspiracy unearthed by a computer programmer

Spherical spherical

Panavision

Panavision

Badham, J.

Paramount

kidnapping

Spherical

Panavision Panaflex Platinum

Panavision Primo and Nikkor

C (Technicolor) b&w

Eastman EXR 200T 5293

















Eastman EXR 500T 5298

Donaldson, R.

Safe

1995

119

Haynes, T.

Till the end of time

1946

105

Dmytryk, E.

MGM

killer alien hunting for a human mate

Panavision (anamorphic)

Panavision

Panavision

C (DeLuxe)



Friday

1995

91

The Devil thumbs a ride

1947

62

Gray, F.G.

Heat

1995

170

Man, M

The unfaithful

1947

109

Sherman, V.

American Playhouse Theatrical “isolation of the Valley, and Films, Killer Films, Chemical the oppression of a certain Films kind of L.S. life” WWII veterans re-adjusting to RKO Pathe Pictures normal life

New Line Cinema, Priority “harsh realities of life that many face in South Central Films (I) Los angeles” RKO Pathe Pictures Warner Bros., Regency Enterprises, Forward Pass Warner Bros

“intrinsially L.A. movie”; robbers making a mistake

spherical Spherical

Panavision

Panavision

spherical Panavision (anamorphic)

spherical

Cine SL 35

Panavision E-Series

Eastman EXR 500T 5298







C

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm

1.85:1

35mm

35mm

1.37:1

35mm

35mm

C (Technicolor)

2.35:1

35mm

35mm



b&w

1.37:1

35mm

35mm



b&w + C (FotoKem) b&w





mono (RCA Sound Film L: 2,877.6 System)

















108



1946



1995



Species

Suspense









mono (RCA Sound System)

Sheet1 Eastman EXR 500T 5298

Warner Bros., Canal+, The attorney defending Alcatraz prisoner Wolper Organization RKO Pathe Pictures

Spherical

Panavision Panaflex Lightweight Panavision Primo

The Music Box

1932

29

Parrott, J.

Hal Roach Studios

The Glimmer Man Female

1996 1933

91 60

Curtiz,M., Gray, J. Dieterle, W.

Warner Bros., First National Seagal/Nasso Productions Pictures(controlled WB)

Mulholland Falls What? No beer?

1996 1933

107 65

Tamahori, Sedgwick, L. E.

Largo Entertainment, MGM, 1950s water LA; downmurder beer during Polygram Filmed MGM invesitgation (after?) prohibition Entertainment

China Girls

1933

Escape from L.A.

1996

101

Carpenter, J.

Babbitt

1934

74

Keighley, G.

1936

Spherical spherical

Eastman EXR 500T 5296

Panavision

Panavision

Spherical spherical

84

Independence Day A star is born

1996 1937

145 111

Hollywood Cavalcade

1939

97

Joster, H.

Universal Pictures

LA as new age Australia-type Zenith-sheep' self-proclaimed 'black island 'fastest growing community in America'. George- property developer and realtor

Panavision (anamorphic)

Kodak

Panavision

Panavision

young actress chasing stardom 20th century Fox, Selznick international alien dreamsinvasion in Hollywood meets and Centropolis Entertainment alcoholic lead actor Pictures

Cummings, I., Keaton, B.

20th Century Fox

Kushner-Locke Company, The Multicom Entertainment, August Entertainment

Eastman EXR 100T 5248

spherical



35mm

35mm

1.37:1

35mm

35mm

b&w

1.37:1

35mm

35mm

C (Technicolor) b&w

1.85:1 1.37:1

35mm

35mm



C (Technicolor) b&w

1.85:1 1.37:1

35mm

35mm



























Santa Monica Mountains

notes

silent

Film length: 328.6m (1 reel) [IMDb]; filmed in Edendale studio lot after the studio move [L A Plays itself]

silent

\Film length: 600m (2 reels)

(Vitaphone) (Western Electric Spind

Film length: 2,225m (8 reels); Filmed in WB studios

mono (RCA photophone system)







sound mix

mono (Brunswick Portraying Chicago? Film Radios Used length: 2,225m; Filmed in WB Exclusively) studios



1.85:1

Topanga

The pomona Valley

Malinbu

San Gabriel Valley

Arcadia

Eastside

Northeast

Griffith Park

Hollywood Hills W

Hollywood Hills

Stahl House, HH W

Ennis-Brown house, LF

Los Feliz

Chinese Theatre, H. Blvd









BACKDROP





Filmed in Bradbury Bldg

mono (western Electric Sound System)

800m (3reels)

mono

Filmed in WarnerBros sutdios

mono (western “This isn't America Jack. This Electric Sound is Film L: 7 reels L.A.” System)

Eastman 





C (DeLuxe)

2.35:1

35mm

35mm

b&w

1.37:1

35mm

35mm

mono

Filmed in WarnerBros sutdios

b&w

1.37:1

35mm

35mm

mono (Western Electric Recording)

portraying Switzerland and NY; Filmed in Universal Studios

Electric Sound System Noiseless

Film L: 3,046.48 (12 reels)

mono (Western Electric Mirrophonic recording)

Film L: 2,757,.38m(11 reels); Filmed in Studios.

mono (western Electric Sound System)

Film L: 2,938.9 (11 reels); Filmed in the Studio.

mono (Western Electric Microphonic Recording)

Filmed in Studios

Eastman EXR 1200T 5293

sisters attempting to reunite divorced parents

Emmerich, R. Wellman, W.





b&w

C (DeLuxe)prints

Paramount Pictures, Rysher Entertainment Warner Bros



Eastman EXR 200T 5293

spherical

Ennis House filming

Hollywood Blvd, H

35mm

Paramount Studios, H

35mm

35mm

Hollywood Sign, H

35mm

1.37:1

Eastman Double-X 5222

spherical Panavision Panaflex Platinum

Three Smart Girls

1.85:1

b&w



Hollywood

Cukor, G.

C (DeLuxe)

Hancock park

Rocco, M.

88

Panavision

Fairfax

122

Panavision

spherical

Sunset Blvd, WH

1995

1932

Spherical

Sunset Strip, WH

Murder in the First

What Price Hollywood?

Stereotype of life of Beverly Hills' crew

West Hollywood

Warner Bros.



Elysian Park

Paramount

Wellman, W.

Echo Park

Heckerling, A.

83

35mm

East L.A.

97

1931

35mm

East Hoillywood

1995

1.37:1

Chinatown

Clueles

The Public Enemy

b&w

Central L.A.

Koreatown

spherical

35mm



Westlake

First National Pictures(controlled WB)

35mm



Pico-Union

LeRoy, M.

1.33:1



Mid City

79

b&w



Bunker Hill, DwnTwn

1931



Downtown

1995

Little Caesar

35mm

Westwood

The Takeover

35mm

Bel-Air

Panavision Primo E-Series & Super High Speed

2.35:1 1.33:1

Brentwood

Panavision Panaflex Platinum

C (Technicolor) b&w

Getty Mansion, PP

spherical

Eastman EXR 500T 5298

Pacific Palisades

Hal Roach Studios



Sheats House, BH

Bruckman, C.

35mm

Santa Monica Blvd, BH

19

35mm

Century City

1927

1.85:1

synopsis “intrinsially L.A. movie”; robbers making a mistake

SETTING FILIMING LOCATIONS 

Westside West los Angeles

Putting Pants on Philip

b&w + C (FotoKem)

Santa Monica

Panavision E-Series

35mm

Culver City

Cine SL 35

35mm

South L.A. Southeast

Marina del Rey

Panavision (anamorphic) spherical

1.85:1

The Harbor

Venice

Warner Bros., Regency Keyston Film Company Enterprises, Forward Pass

C

South Bay

Downey

Man, M Sennett, M.

EYE (as seen)

Huntington Park

170 11

TIME STAMP(s)





Panavision

TOTAL TIME

Lynwoodd

YEAR 1995 1913

'STUDIO'

Panavision

NATURALARTIFICIA

Historic South-Central

MOTION PICTURE 'COLOR' Heat A muddy romance

DIRECTOR

Spherical

NIGHT

Leimert Park

New Line Cinema, Priority “harsh realities of life that many face in South Central Films (I) Los angeles”

DAY

Exposition Park

Gray, F.G.

91 RUN TIME

PIXELS

Lakewood

1995

HUE

Carson

Friday

SPECTRUM

Long Beach

Haynes, T.

STOCK TYPE

ATMOSPH HYPERCITY ERE  REALIST AMBIENC (haze, IC E CAMERA smog) (as capture  d)

REALISTIC

San Pedro

119

LENSES

STREET LIGHT COL.TEMP

Inglewood

1995

CAMERA

C (DeLuxe)



Safe

American Playhouse Theatrical “isolation of the Valley, and Films, Killer Films, Chemical the oppression of a certain Films kind of L.S. life”

SOURCE

Panavision

Westchester

MASTER

Panavision

Playa del Rey

Panavision (anamorphic)

Gardena

killer alien hunting for a human mate

MGM

Torrace

Donaldson, R.

GOLDEN HOUR



108

FORMAT 2.35:1 35mm 35mm PRINASPECT NEGATIVE TED RATIO

elsewhere in L.A.

1995

LIGHTING

FILM STOCK CHARACTERISTICS

Rancho Palos Verdes

Species

CINEMATOGRAPHIC REPRESENTATION

PHOTOGRAPHY

CINEMATOGRAPHIC PROCESS

Eastman EXR 500T 5296

70mm prints Super 35 spherical

Clairmont Panavision

Newly-discovered star vs. director

Eastman EXR 100T 5248 Panavision

C (DeLuxe) C (Technicolor)

2.20:1 1.37:1

Eastman EXR 200T 5293

spherical

35mm

2.35:1

bw

1.37:1

35mm

Eastman EXR 500T 5298

35mm (anamor 35mm phic) 70mm (blow up) 35mm

















8mm

C (Technicolor) 1996

110

Bright, M.

1941

107

LeRoy, M.

Big Lebowski

1998

117

This gun for hire

1942

81

Coen, J. & E.

Tuttle, F.

MGM

Spherical DA's daughter falls in love with a gangter

Panavision

spherical

Polygram Filmed Entertainment, Working Title Films Paramount

Spherical

Panavision

Bowling ball POV

Arriflex 2C

Eastman

Kodak

spherical

C (DeLuxe)

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm

C (Technicolor)

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm







 







Freeway

Johnny Eager























Arriflex 535B

14

1997

138

Deren,M., Hammid, A. Hanson, C.

Maya Deren Experimental Warner Films Bros., Regency Enterprises, Wolper Organization

The White cliffs of Dover

1944

126

Brown, C.

MGM

Bathing Beauty

1944

101

Sidney, G.

MGM

break up of a relationship

Flan de Coco Films, King Films MGM

“im hollywood every dream has a price” (trailer quote) invasion of a Chinese village by the Japanese

H>B. Halicki Mercantile Co.

car theft

snippets of memories? Dreams? “seedy underbelly of glitz and glamor” 1950s

spherical

Bolex Camera

Super 35

Panavision Panaflex Gold II

Panavision Primo

Panavision Panaflex Lightweight

Kodak Vision 500T 5279

b&w

1.37:1

16mm

C (Technicolor)

2.35:1

35mm

16mm 35mm (anamor phic)

C (Technicolor)

1.37:1

35mm

35mm

1.85:1

35mm

35mm

1.37:1

35mm

35mm

 











mono; silent













Filmed in Lovell health house



1943

L.A. Confidential



Meshes of the Afternoon

Eastman EXR 200T 5293

Panavision Panaflex Platinum

1997

86

1944

148

Arteta, M. Bucquet,H., Conway, J.

Spherical

Hollywood confidential

1997

Gone in sixty seconds

1944

105

Halicki, H. B.

Jackie Brown

1997

154

Tarantino, Q.

Double indemnity

1944

107

Wilder, B.

Paramount

spherical

“perfectly capture the city 20th century Fox, in all its glory- from Museum Donner/Shuler-Donner Row on the Miracle Mile to Productions, Moritz Original soldier manages a kiss from a Angelyne billboards” Warner Bros girl

Spherical

Volcano

1997

104

Jackson, M.

Hollywood Canteen

1944

124

Daves, D.

Producers Releasing corporation Largo Entertainment

Detour The City of Industry

1945 1997

67 97

Ulmer, E.G. Irvin, J.

Mildred Pierce Dead Homiez

1945 1993

111

Curtiz, M. Wright, B.

Nocturne Twilight

1946 1998

94

Benton, R.

Cinehaus, Paramount Pictures, Scott Rudin Productions

The Blue Dahlia Slums of Beverly Hills

1946? 1998

96 91

Marshall, G. Jenkins, T.

Paramount Fox Searchlight Pictures, Wildwood Enterprises

Nobody lives forever

1946

Why Big do Fools The SleepFall in love

1998 1946

116

Nava, G.

Rhino Films, Warner Bros.

The replacement killers Suspense

1998 1946

87

Fuqua, A.

Columbia Pictures Corporation, Brillstein-Grey Entertainment, WCG Entertainment Productions

Bladethe end of time Till

1998 1946

113 105

Goyer, D.S. Dmytryk, E.

New Line Cinema, Shawn Danielle RKO Pathe Productions Pictures Ltd., Amen Ra Films

The Devil thumbs a ride

1947

62

The unfaithful

1947

109

Arriflex 35 BL4

Zeiss & Cannon

Eastman EXR 100T 5248

spherical

C (FotoKem)

b&w

Arriflex

Arriflex

Eastmancolor

Panavision Panaflex Lightweight Panavision Primo

spherical

Sepiatone

 



C (Consolidated Film Industries)

1.85:1

b&w

1.37:1

35mm

35mm

C (DeLuxe)

1.85:1

35mm

35mm

b&w

1.37:1

35mm

35mm

b&w C

1.37:1 1.85:1

35mm 35mm

35mm 35mm

b&w C

1.37:1

35mm

35mm

C

1.85:1

35mm

35mm

b&w C

1.37:1 1.85:1

35mm 35mm

35mm 35mm

 

C (Technicolor)

1.85:1

35mm

35mm



2.35:1

35mm

35mm (anamor phic)



2.35:1 1.37:1

35mm

phic)Fu ji 35mm Eterna-







 



Clairmont

heist



Warner Bros

spherical

Spherical

murder mix-up y y life of those trying to reap benefits of the previleged (and infrastructure provided

Panavision

Panavision

spherical Spherical

Eastman EXR 200T 5293









mono (Western Electric Sound System)

LA plays China! Film L: 15 reels

mono (Western Electric Microphonic Recording)













mono (western Electric Sound System); Filmed in Nevada













Film L; 2m (11 reels)

mono (RCA Sound Film L: 3,400m; Filmed in System) Burbank Studios

Panavision Panaflex Platinum

spherical

Film L: 11 reels;

mono

 

mono (Western Electric Sound System)



Star Maps

Dragon Seed

spherical



mono (RCA Sound System)



mono (Western Electric Recording)









Eastman EXR 500T 5298

1950s; multi-claim to a fortune

Spherical

Super 35

Kodak

Panavision Panaflex Platinum

Panavision Primo

C (Technicolor)

Arriflex 35-III+

Panavision Primo

C (Laser Pacific b&wMedia Corporation)

Digital

WWII veterans re-adjusting to Intermediate Super 35 spherical normal life

(2K)

Ariflex 435

Digital intermediate









mono (RCA Sound filmed in Canada Film L: 2,877.6 System)

C (DeLuxe)

RKO Pathe Pictures

spherical

b&w

1.37:1

35mm

35mm

Warner Bros

spherical

b&w

1.37:1

35mm

35mm

Page 4 Sherman, V.











mono (RCA Sound System)

Sheet1

Sheet1





Santa Monica Mountains

Topanga

The pomona Valley

Malinbu

San Gabriel Valley

Arcadia

Eastside

Northeast

Griffith Park

Hollywood Hills W

Hollywood Hills

Stahl House, HH W

Ennis-Brown house, LF

Los Feliz

Hollywood Blvd, H