I'm confused. Why did they changed the side of the staircase? I get that it was a decision made for the shot, but doesn't that have huge implications for the movie? I mean, her house interior changed instantly without her noticing.

What was the movie at 3:38?

He didn't even say anything logical

The scene in planes trains and automobiles is God awful.

The take-one joke was epic 🤣

What is the shoulder pad Peter is talking about at 2:35? I like this idea of the pad following your shoulder but being straight on the top for the camera.

He did not explain how they did it at all!

LEGEND!

Loved it❤❤❤❤

So long story short = Blue screen + vfx legend Ken Ralston.

Absolute genius work. Star Wars never looked so gorgeous before or since.

but who's that legendary steadycam op??

I just bought some and they don't fit my rig so I had to tape them on. Otherwise not bad.

This guy explaned it and i still don't get it. Is it one shot or two? One up the stairs and a second from the mirror for the slowmotion hallway? (Had a couple glases of Rum sry)

Great explanation for sure, but dude! Can you speak a bit slower and clearer for everybody to understand? 😐

Good tip on using the long lens as way of scaling up the mood of the shot.

I had first seen Contact in the theaters 1997. And if was probably the 3rd or 4th time watching when I had noticed this scene.

KZbin Compression and bitrate is doing these lenses no justice. Is there somewhere we can watch at a higher quality?

In low bit rate HD?

Cooke ❤

I reached this conclusion the hard way, I didn’t need to sell my ass not just yet, but I had to do a lot of social media shit, the thing is we graduate from film schools (if we are lucky enough to join and graduate from one) as DP’s (HOD) heads of departments don’t know how to make tea or run errands, or kiss asses, to get jobs, these things you need to learn on your own, humility is key, you have to beat yourself up for any ego impulses that might ruin your chances to get any work, you need to be very patient to put up with crap load of things you normally won’t need to stomach.

I'm glad they at least showed the answer to what we all wanted to know, which was how the mirror got worked into the shot. He didn't answer that at all, just said the special effects team did it.

That's how a trans closet looks like

👍👍

This woman is a terrible human being. Came into the place I work and tormented everyone. Awful awful person.

I would love to see this shot from “backstage”.

The Hannibal push-in looked a bit choppy; wonder why.

I wish this was shown in 4k though!

As much as I like listening to Julian, I get the sense that he's the primary creative force behind the lighting. I always think it should be the DP. Simply because we give the Oscar for Cinematography to the DP not the Gaffer

Sexy.

An advert for SP3 without showing SP3 footage? Ok then.

Love our sp3’s

Excellent. Yes, glass or lenses are important to Cinema. 👏

Absolutely stunning 👌🏻

Love these lenses!

Thank you so much, very interesting and well-made video. I was captivated 💡this inspires me!!! I'm subscribing 😘🌺🩺

Manual focus is the shit

The best thing about Varotals is how closely they perform to a prime lens! Virtually no breathing, no distortion, no vignetting across the entire zoom range. I love doing on camera zooms with Varotals because they are so consistent throughout the zoom range that it looks magical. Simply amazing zooms with a beautiful look!

Don’t get me wrong, this is a good explanation but it’s a bit high-level. I want to see this explained a la job description (e.g. the nuts & bolts, roles & responsibilities). I’m asking because increasingly I’m seeing ‘actors’ billed as Executive Producers and I have no idea what (extra) they’re actually bringing to the table - are they investing money? Gathering investors? Or are they coordinating time-sheets?

With due respect 🙏....My question to the cinematographer of this movie @Lawrence Sher what are the lenses used in filming this movie. The depth of field are so cinematic of it's kind.

where can i find the full video?

I only need 4 matching in a set and to overshoot the resolution. And a solid zoom.

this is old?

I have the retro Amotal. I really like the "Cooke Look" glow wide open and how it handles color at all openings. I like them.

Back when movie magic was magic. I can't stand the CGI insertions these days.

Wonderful addition! I can't wait to own of set of the SP3's! Cooke lenses are my favorite cinema lenses hands down.

The Art of Pixar Book (2025) Chapters: (Also done to celebrate Toy Story (1995)’s thirtieth anniversary and Inside Out (2015)’s tenth anniversary.) (And a behind the scenes book on Pixar and its movies and filmmaking.) Foreword by Jim Morris and John Lassaster on Pixar and its filmmaking An Introduction to the book Chapter 1: Pixar’s Early History (1979-1984) as the Animation Graphics Group, a chapter on that time period. (The Adventures of Andre and Wally B. and Pixar computer.) Chapter 2: Pixar’s First Years (1986-1989), a chapter on that time period. (Luxo Jr. to Knick Knack.) Chapter 3: Pixar’s partnership with Disney and Circle 7 Animation (1990-2006), a chapter on that time period and subjects. (Toy Story to Cars.) Chapter 4: Pixar’s ownership by Disney Era (2007-future), a chapter on that time period and subjects. (Ratatouille to Elio.) Chapter 5: Pixar’s expansion (Present day), a chapter on that time period and subjects. (Cars on the Road, Monsters at Work, Dug Days and Win or Lose.) Part 1: The Art of Feature Films (1995-2025) Chapter 1: The Art of Toy Story (1995) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Toy Story.) Chapter 2: The Art of A Bug’s Life (1998) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for A Bug’s Life.) Chapter 3: The Art of Toy Story 2 (1999) ((A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Toy Story 2.) Chapter 4: The Art of Monsters’ Inc. (2001) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Monsters’ Inc.) Chapter 5: The Art of Finding Nemo (2003) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Finding Nemo.) Chapter 6: The Art of The Incredibles (2004) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for The Incredibles.) Chapter 7: The Art of Cars (2006) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Cars.) Chapter 8: The Art of Ratatouille (2007) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Ratatouille.) Chapter 9: The Art of Wall-E (2008) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Wall-E.) Chapter 10: The Art of Up (2009) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Up.) Chapter 11: The Art of Toy Story 3 (2010) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Toy Story 3.) Chapter 12: The Art of Cars 2 (2011) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Cars 2.) Chapter 13: The Art of Brave (2012) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Brave.) Chapter 14: The Art of Monsters’ University (2013) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Monsters’ University.) Chapter 15: The Art of Inside Out (2015) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Inside Out.) Chapter 16: The Art of The Good Dinosaur (2015) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for The Good Dinosaur.) Chapter 17: The Art of Finding Dory (2016) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Finding Dory.) Chapter 18: The Art of Cars 3 (2017) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Cars 3.) Chapter 19: The Art of Coco (2017) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Coco.) Chapter 20: The Art of The Incredibles 2 (2018) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for The Incredibles 2.) Chapter 21: The Art of Toy Story 4 (2019) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Toy Story 4.) Chapter 22: The Art of Onward (2020) (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Onward.) Chapter 23: The Art of Soul (2020) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Soul.) Chapter 24: The Art of Luca (2021) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Luca.) Chapter 25: The Art of Turning Red (2022) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Turning Red.) Chapter 26: The Art of Lightyear (2022) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Lightyear.) Chapter 27: The Art of Elemental (2023) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Elemental.) Chapter 28: The Art of Inside Out 2 (2024) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Inside Out 2.) Chapter 29: The Art of Elio (2025) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Elio) Chapter 30: The Art of Toy Story 5 (2026) (A chapter explaining the concept art, production and writing for the plot, story and characters and animating for Toy Story 5.) Part 2: The Art of the Pixar short films and Pixar SparkShorts (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Pixar short films and SparkShorts including Luxo Jr., Boundin, For the Birds, Lava, Riley’s First Date?, Knick Knack, Tin Toy, Presto, Bao, Lou, One Man Band, Purl, Kit Bull, Mike’s New Car, Party Central, etc.) Part 3: The Art of Pixar television series (A chapter explaining the concept art, production, writing for the plot, story and characters and animating for Pixar television series like Monsters at Work, Cars on the Road, Cars Toons, Toy Story Toons, Win or Lose, Dream Productions and Dug Days and Carl’s Date and Forky Asks a Question, etc.) Epilogue.

Jesus make a 27 and 40mm already! Give us proper cinema focal lengths!

Beautiful! Can't wait to get my hands on one.

2:00 Layers.