Cinematography Style: Vittorio Storaro

MUSIC I USE: bit.ly/3qCRt7u
EDITING SOFTWARE I USE: bit.ly/2LZ60Lo
STOCK FOOTAGE: bit.ly/3jZHBC0
In this episode of Cinematography Style I’ll analyse the work of established cinematographer Vittorio Storaro. By engaging with his philosophy on cinema, and breaking down the gear he uses, we’ll see how he creates images using colour, atmosphere and hard lighting.
PATREON: / indepthcine
2ND CHANNEL: / @indepthfilm4717
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INSTAGRAM: / indepthcine
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Further Reading: britishcinematographer.co.uk/...
Further Reading: ascmag.com/articles/flashback...
List of Films Featured:
The Bird With Crystal Plumage (1970)
The Conformist (1970)
Last Tango In Paris (1972)
Apocalypse Now (1979)
Reds (1981)
The Last Emperor (1987)
Cafe Society (2016)
A Rainy Day In New York (2019)
0:00 Introduction
0:54 Background
01:26 Philosophy
03:53 Gear
06:51 Conclusion
Music
Saidbysed - ‘Sprite Star’
Emily A. Sprague - ‘Bug Catching’
Geographer - ‘After All’
Jesse Gallagher - ‘Nidra in the Sky with Ayler’

[@CTBSVIDEOSfull]

With cinema, sometimes we need to get out of reality and Vittorio Storaro's Cinematography helps us to do that

[@srinivassridhar5151]

Apocalypse now is one of the best films ever made and mainly due to it's spectacular, bold and complex visual treatment. Also love your channel, it's just the best. Thank you.

[@InDepthCine]

I agree that a large part of the success of Apocalypse Now can be attributed to how it was shot.

[@hemantkulkarni0212]

"The Last Emperor" ,too, was the most significant movie of his career.

[@shadowplayfilms7963]

In my opinion he's the greatest to ever live. His visual style is grounded in the traditions of still paintings, something other cinematographer's didn't bother to use as inspiration. Nowadays most DP's draw from other fellow DP's and movies, instead of going back to the roots of "imagery". I find modern visuals becoming increasingly boring and unoriginal. They're mechanical, dominated by the blue an orange palette, with haze, and full of dolly ins and cranes. What are you thoughts on Vadim Yusov? Tarkovsky's cinematographer.

[@jonathanhunter8261]

Keep going man, your views will start growing. You deserve this channel to take off big time.

[@chrisjonesfilm]

You deserve so many more views. Can't wait to watch this channel take off, keep it up!

[@InDepthCine]

Thanks Chris. Appreciate it. Thanks for watching.

[@hikingwithmarty]

Agree on that.

[@nerdbot4629]

Great Video as always! would love to see one on Gordon Willis or Conrad Hall

[@InDepthCine]

Thanks! Two good suggestions which I'll definitely cover at some point.

[@TheEnveRockStudio]

What a gem. Your videos give so much inspiration! Keep up! Thank you!

[@InDepthCine]

Thanks very much! Hope they help you to go out and film something.

[@Elusive_Pete]

His comment on cinematographers all trying to be the same is so dang true. Even down to low budget independent creatives, they give silly criticisms on every visual aspect down to the lowest common denominator. "This shadow is too harsh/this highlight is too bright", "I would've framed it differently" etc etc. Cinematography is not a set of arbitrary boxes to be ticked. I prefer a more harsh/classic visual style, but were I to present it to a facebook group.. fuggedaboutit.

[@ngonzale3]

Lovely video on an amazing artist!

[@matheusafrancez]

Great stuff, buddy! thank you very much for this quality content.

[@ommm8]

Wonderful content, beautifully straightforward and articulate, thanks : )

[@hikingwithmarty]

thanks for another very informative and educative video, this is really of help and inspiration, like many of your videos! Thanks!

[@yeakinh]

Your videos day by day getting better quality. Keep it up.

[@InDepthCine]

Glad you enjoy them. Thanks for continuing to watch.

[@breadsticks310]

This videos are so great and helpful! Thank you for making these. I know you did a video about things you learned while working with Jeff Cronenweth, but wondering if you'll make a more in depth cinematography style of him in the future?

[@InDepthCine]

Glad you find them useful. Yeah, will do a proper, more in depth video of his cinematography in the future.

[@ReeseMoe73]

I studied the work of Storaro when I was in film school over 20yrs ago. He was like my hero idol. Especially the work he did on Last Emperor

[@dyhockane7506]

Best DP ever imho

[@EddieLensweiger]

Thank you, very enlightening

[@NoName-jq7tj]

This was really interesting. A very indulgent photographer.

[@michaelcooney9368]

Storaros univisium failed as a film format, but for various reasons I kinda wished it was used instead of 1.9 for the DCI digital projection format. If digital cine cameras had a more native 2:1 it would have been more flexible for different filming formats.

[@InDepthCine]

Yeah, it's definitely an interesting idea. I like that Univisium tries to preserve the original framing choices of the DOP across different display mediums.

[@michaelcooney9368]

@@InDepthCine I actually don't like being stuck with 1 format, but DCI screen and camera ratio are for now stuck at 1.9. I've advocated for years companies like RED should design around a pixelcount/price fixing but sell sensors that are native in different aspect ratios. Digital cine cameras are approaching 20 years old, only Alexa 65 is natively 2.2 aspect ratio, not a single widescreen 2.35 sensor has been designed. On television Univisium is catching on, it lets programming look more cinematic but there isn't as much information loss by cropping away over a third of screen real estate.

[@kollywoodkingss5304]

The first cinematographer to use colours to differentiate the period, characters uniqueness,,, one can see in lost emperor,, legrnd

[@lexipau]

Thanks for sharing 🙏

[@InDepthCine]

Thanks for the continued support!

[@user-fu7yl2mk7u]

Loved finding this right after watching The Conformist. Great video. Suggestion for a cinematographer: Tak Fujimoto (frequent collaborator with Jonathan Demme)

[@DefacedProductions]

This is a great series bro

[@solosolo8932]

Thanks for the great review. A small contribution: This film one of the different works of Master Storaro watch?v=2XZ4Ix0icc8 I would also like to share a few technical details about this movie: • Medium: Kodak Vision 3 color negative film. Exposure indexes ranged from 500 in 3200 K tungsten light to 50 in daylight. Aspect ratio: 2:1 “Univision” format (which Storaro developed); three-perforation frames. Cameras: Three ARRI BL 535’s, one ARRI Lite camera for Steadicam shots, one ARRI 435 camera for recording high-speed images for slow motion scenes, and one ARRI 235 camera for helicopter shots. • Lighting: Iride Company, in Italy, provided lighting gear, including lightboards with silent dimmers. • Locations: Scenes were filmed at practical locations in the ancient cities of Tehran, Asoloyeh, Mecca and Medina, the Kalut desert and on sets. (Storaro, Majidi and others on the production team communicated with the aid of an interpreter.) • Lab: The exposed negative was shipped to Technicolor laboratory in Rome, which provided dailies in HD digital format. • Production length: They began production in October, 2011. There were a few short breaks in the production schedule for Christian and Islamic religious holidays. Final scenes were produced on October 26, 2012.

[@michael_viteritti]

Awesome, I need to rewatch Apocalypse now :D

[@bhargavvramm]

Great work👍 and thanks for the knowledge. Watched all your videos and they are helping me to cultivate an eye to understand/appreciate cinematography. Will it be possible for you to create a video on diff. sources of lighting and how they are used to enhance visual story telling.

[@InDepthCine]

Thanks for watching. Yes, although I briefly touch on it in some videos, I'm planning on making more detailed videos about specific lighting techniques in the future.

[@adityaparmar6433]

Plz also make a video on Subrata Mitra,Sven nykvist and kazuo miyagawa

[@sebastianarbelaez632]

really interesting content in here I love it. I just wonder how do u know what kind of gear, cameras and lenses cinematographers use. Let me know please 👍👍

[@realkabecio]

EXCELLENT!!!

[@ElefanteTv]

apocalypse now has probably the best photography in the history of new hollywood. Like a Michelangelo's fresco

[@cyclophezurdo3883]

Your narrative off voice fixes very well in you reviews.

[@juanjosenamnuntavarez7553]

Thank you, very nice video. What about one about Gary Graver or Ricardo Aronovich?

[@danielhuang2488]

the thing about 2:1 just blew my mind

[@finalorbit]

I was reading an American Cinematographer article (September 2007) about the movie "Caravaggio," which Storaro shot. When asked what type of lighting he used, among other fixtures he mentioned that he liked using Concordes, which contain 7, 16, 24, or 31 globes. I couldn't find anything on them. Are you familiar with this light?

[@davidle4936]

Please make a video of Darius Khondji!!!

[@May23rdMovement]

Ladyhawke should get a mention as well

[@anomitrade6656]

Amazing stuff! Robert yeoman sometime?

[@InDepthCine]

Definitely! He's the next DOP I'm going to do.

[@creatief_met_kaas]

I love these vids so much! Would love to see you cover Sven Nykvist sometime.

[@InDepthCine]

Glad you enjoy them. Good suggestion. He had such a long career it'll be difficult to pick his best films haha.

[@creatief_met_kaas]

@@InDepthCine Yeah true, especially since most of Bergman's work is fantastic ;D

[@lildrewzee1246]

What is the movie at 2:58

[@TommasoBartolini]

The conformist

[@olivierparent3554]

christopher doyle next pls

[@user-mx6il5xo5g]

Thanks, man!)))

[@yveslacroixproductions]

when will you cover darius khondji ?

[@InDepthCine]

He's on the list of DOPs I want to make a video on. Hopefully soon, time permitting.

[@MaxDelRio.]

How does he do that soft focus dreamy golden lighting on the Woody Allen films?

[@ruly8153]

You said the painters he draws inspiration from Who are the painters? Just curious

[@marcospanu882]

Leonardo, Caravaggio

[@raphjaaf]

Bru did you delete your video on Hélène Louvart ?

[@yosoyalbertico]

Not is important this information