Understanding the Cinematography of Vilmos Zsigmond

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I go through some of Vilmos Zsigmond's cinematography techniques to help you understand his unique style.
Just to be clear: Vilmos Zsigmond changed his style to suit the movies he shot. The goal of this video and article is to drum up enthusiasm and a yearning to learn more.
Think of it as a tribute, nothing more is intended.
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[@zoltanszoke2676]

Beautiful pronunciation of the name, thank you sir.

[@wolfcrow]

You're welcome!

[@rodneyjr22]

Thanks for the upload wolfcrow. I been wanting to see you do vilmos next but I love all your work on the cinematographers and theirs styles. Keep up the great work!!

[@wolfcrow]

You're welcome!

[@janiceward2169]

wow I am delighted to have found this piece of information..what a GENIUS FANTASTIC.

[@crabbySm4ck3r]

Your channel is my favorite thing.

[@Norbert.Gardonyi]

He was clearly the greatest and most valued person in the whole Hungarian cinema. He was a great cinematographer and also a great person. I feel so lucky that I was able to meet him multiple times. It's a real tragedy that he died.

[@jasOWN87]

Would you do a video on the cinematography of Rodrigo Prieto and Dean Cundey? They are two of my favorite cinematographers!

[@brun0inacio]

Thank you very much for your work!

[@wolfcrow]

You're welcome!

[@JoshPendergrassFilms]

Great video as always man

[@wolfcrow]

Thank you!

[@aZeddPrattFilm]

You know I'm here, baby. Good shit as always my friend.

[@wolfcrow]

Thank you!

[@aZeddPrattFilm]

wolfcrow Would you consider doing one on Newton Thomas Sigel?

[@denysfinney3803]

Wonderful succinct appraisal of a GENIUS

[@wolfcrow]

Thanks!

[@DavidWestphal]

In love with these!! Thank you so much! Please do Freddie Francis soon. He's dope.

[@wolfcrow]

You're welcome!

[@ronben25]

Thanks big fan of his stuff

[@wolfcrow]

You're welcome!

[@pascalcosta2614]

if any of you is interested in Vilmos's work, there's a recent documentary by Pierre Filmon called "close encounters with Vilmos Zsigmond" and it's really great. I haven't watched "No subtitles necessary" but I think it must be very complementary... it's French so I don't know if there's an English version but I hope you guys can find it! also great video (once again)

[@wolfcrow]

Thanks!

[@pascalcosta2614]

wolfcrow glad you've seen my comment ;)

[@MrSteadiman]

Excellent work again, thank you so much ! John Tool would be a great addition.

[@wolfcrow]

You're welcome! Sure!

[@truefilm1556]

Great and insightful video as always! Some of my favorite movies in terms of look, feel and mood are photographed by Vilmos Zsigmond. You confirmed: I always pinpointed "around 1970" as the year where zoom lenses were starting to be (over-) used. It takes skill to make zooming look convincing and not "flat" or "cheap" (like a TV news interview shot on a static tripod). Love the haze effect. I read that one of the reasons for its use was to make the (then = 1974) new, sharper Eastman EXR 5247 (100T) stock, using a new ECN-2 processing (now the standard), look softer, more like the older 5254 (which many preferred). Knowing that the "haze" effect goes back to the late 1960s, I'm seeing a larger picture here... Thanks, as always, for sharing your great insight! Just a small question: an Arriflex 16 (at the time models S, M and BL) cannot be converted to Techniscope, because that is (standard, non-Super) spherical (= non-anamorphic) 35mm with a 2 perf pulldown (as used for most Sergio Leone Spaghetti Westerns). So it could only have been Ultra 16 or Super 16. (?) - of course my humble, nerdy 'explanations' are meant for people who might not know, but are interested. :-)

[@wolfcrow]

Thank you. Vilmos did confirm he used preflashing and fog filters just to increase dynamic range primarily. Film stock didn't have the dynamic range it does today (but still a lot more than it did a few decades earlier!). To be honest I don't know the exact camera he used, just that it was a 16mm Arri. It might have been possible to convert the lenses to anamorphic, perhaps, using an adapter? I can't imagine him being able to afford anamorphic lenses, but I could be wrong.

[@truefilm1556]

Yes, that would have been very much possible. It hardly matters what the model was. The Arri 16 models from the late 1950s through 1970s are all very similar (and cannot be converted to Super 16 without extreme modifications that won't justify the cost and time) only Ultra 16 - a format with enlarged film gate between sprocket holes - as far as I know - still unknown back in the 1970s. Perhaps he used a 35mm 2x anamorphic projection lens (perhaps a Kowa?)in front of the 16mm lens? With the correct lenses (longer focal lengths) to avoid vignetting, you get a very nice 2.66:1 -ish image, fine for blow up to 35mm anamorphic (only minimal cropping at the sides). P.S. yes! To say nothing about speed. 100 ASA was considered high speed at the time (a lot of push processing used I reckon). Today 500 ASA (with a 13 stop latitude: the Kodak Vision 3 500T) is considered high speed and still O.K. for 16mm.

[@denysfinney3803]

I read the article about Macabe and Mrs. Miller in American Cinematographer after seeing the movie, what a revelation. Robert Altman too was at the beginning of his illustrious career as was Leonard Cohen, what a trio!

[@Pavankumardaggupati]

Excellent video on a Legendary Cinematographer! Now please do Michael Ballhaus

[@wolfcrow]

Thanks!

[@twoammoments724]

Nice work as usual. Thx for that. If you have the time to discover Sergiu Nicolaescu work, and share your thoughts would be great.

[@diegohernandez2713]

Excellent as always! I'll suggest doing Slawomir Idziak next

[@wolfcrow]

Thanks, he's on the list!

[@fortgrove3166]

Blowout and the Ghost and the Darkness are filmed awesomely.

[@mahmoudmagdy950]

Understanding the cinematography of Danny Cohen please! :)

[@Malum09]

As always great video! One DP that i'm interested but is practically unknown is John DeFazio, i came to know him for his work on Paul Schrader's The Canyons, i would like to see if you can find info about him, thanks!

[@wolfcrow]

Thanks, I'll add him to the list!

[@JhonVLee]

Thank you for Nice & helpful video^^ Could you make video about Cinematography of Dean Semler?? He is really my favorite cinematographer;

[@wolfcrow]

You're welcome! Sure!

[@mr.b6789]

Awesome, keep it up! I was very impressed by the work of Mikhail Krichman in The Return. Maybe you can take a look at his films?

[@wolfcrow]

Thanks, I'll look into it.

[@999yuiop]

Hi Sareesh, I was wondering if you could do a video explaining the difference between the tv look and the film look and how they can look different even if they were shot on the same camera.

[@wolfcrow]

Sure, if I can. For starters I've done a video about how to get the film look in grading.

[@999yuiop]

Thanks!!

[@Grindexpo97]

What you do is really fantastic! Please, add the work of Robby Muller or Matthew Libatique the next time. Thank you :)

[@wolfcrow]

You're welcome! they're on the list.

[@marcmediapro5539]

great work as always , i just saw some work of dp colin watkinson - from the movie the fall (check out the created intro !) its really great deserve a study . keep on artist

[@wolfcrow]

Thanks! I'll add him to the list.

[@miguelrivera9599]

Great work man... Next Dante Spinotti please

[@wolfcrow]

Thanks!

[@thebaptlight]

hey mate could you make a video on ED LACHMAN please ? Best

[@goodnbadnugly]

Very insightful and Honest video. can please do - Gregg Toland.

[@wolfcrow]

Thanks!

[@brianh.lindquist5880]

Fantastic work! Could you add Jack Cardiff and Gregg Toland to your list?

[@wolfcrow]

Thanks, sure!

[@christopherh.gaines533]

Terrific video. Could you add Michael Ballhaus and Michael Chapman to your DP list.

[@wolfcrow]

Thanks, they're on the list.

[@HarrisonDillingham]

Could you do Robert Burks and Robert Surtees? Thank you!

[@wolfcrow]

Sure, you're welcome!

[@zombiedodge1426]

Zsigmond shot two of the best-looking world-historical box-office disasters of all time, "Heaven's Gate" and "The Bonfire of the Vanities." (Though two of the most memorable shots from the latter - the gargoyle time-lapse shot at the beginning, and the Concorde landing - were the work of second unit director Eric Schwab. "The Devil's Candy," about the making of that film, is a must-read.) Is that Arch Hall, Jr. from "Eegah!" at 6:50?!?

[@zacharyantle7940]

What's the film at 0:50? That shot and lighting are INSANE.

[@retardedvaxxedliberal]

"The Maiden Danced To Death"

[@AlexGonzalezzz_]

Awesome work please do Rodrigo Prieto

[@wolfcrow]

Thanks, coming!

[@StephenHildreth]

Could you do something on Bill Pope?

[@Gabo-yh6mk]

Please do Rachel Morrison.

[@locheriminnenfutterderchev84]

Can you please analyse Andrew Lesnie

[@arindambanerjee1415]

Would you please do an episode on Freddie Young?

[@CarlosRiveraFernandez]

I've said it fifty times but do Freddie Young. Please.

[@notsparctacus]

Geoffrey Unsworth, Gilbert Taylor, William A. Fraker, Andrew Lazslo.....

[@GTAtrailerOfficial]

Do Anthony Dod Mantle

[@iminyomommy7889]

8:11 wait why did they wanted to and ultimately fire him?

[@utilitybeltfx]

Adam Greenberg!

[@David-mg1yj]

Freddie Francis please

[@iminyomommy7889]

3:16 he actually used a leica 30-300