How Kubrick Achieved the Beautiful Cinematography of Barry Lyndon
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- Опубліковано 27 лип 2017
- MORE HERE: Lenses at the Kubrick Exhibit in San Francisco - bit.ly/2wt5wPX
Stanley Kubrick’s Barry Lyndon is often lauded as one of the greatest achievements in the history of cinematography. And in a decade or even a year with some of the toughest competition you can think of, Barry Lyndon always seems to stick out just a little bit more. But what sets the cinematography of Barry Lyndon apart from other movies? And how was it done?
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This video essay was written, edited, and narrated by Tyler Knudsen.
The Kubrick Files Ep. 3 - Kubrick's Cameras - • The Kubrick Files Ep. ...
Sources:
cinephiliabeyond.org/stanley-...
Time Magazine [Dec 15, 1975]
Stanley Kubrick Archives [Barry Lyndon by Rodney Hill]
How I Learned To Stop Worrying And Love 'Barry Lyndon’ By JOHN HOFSESS
Kubrick on Barry Lyndon An interview with Michel Ciment
American Cinematographer interview with John Alcott
Stanley Kubrick Exhibition Book - Interview with Ken Adam
Six Kinds of Light John Alcott - • Six Kinds of Light Joh...
DP/30: Leon Vitali on Kubrick - • DP/30: Leon Vitali on ... - Розваги
This movie is the closest experience you'll ever have of walking through an art gallery without leaving your home.
Davey Givens beautifully stated.
'Museum' would be a better word. Contemporary art galleries dont show beautiful European landscapes, they show confusing conceptual art and strange media fetishes.
an art gallery of 18th century masterpieces....
For me, that was Vincent & Theo. Numerous times during the movie, I realized I was looking at one of Van Gogh's paintings, only then it was alive, with characters walking around in the painting, fields of sunflowers blowing in the breeze, etc.
@@GregConquest even better said
I was extremely lucky to be cast as Bryan in the film. I remember being there for many of the scenes (even scenes I wasn't in) simply because you had to be there, which makes watching the film again like revisiting a past life. Thanks for your fascinating insight into the cinematography.
Why didn't you obey me Bryan
I thought your acting ability was outstanding. I could never understand how a child in that age group can be so capable and convincing. Thank you for a great performance.
Great acting
Omg! Is this true! Is this really you! Incredible! 😊❤ You were absolutely outstanding… What a movie!
What was it like working with Kubrick?
Martin Scorsese commented about this masterpiece: "Barry Lyndon is the most beautifully filmed movie ever made in History".
All said.
I just said that above before reading this quote.
Perhaps Martin Scorsese never saw _Ryans_ _Daughter._
@@Obladgolated i bet he saw that Scorsese watch worldwide movies he even saw most of the movies of satyajit ray's
Ivan Ahmed it is said that scorsese watches one to two movies every day even during the days of shooting
knowledge share how
I was in this movie, as an extra in the battle scenes, which were shot just outside Waterford. I saw Stanley Kubrick and Ryan O'Neil one evening in the Ardree Hotel in Waterford, where they were staying. The family of a friend of mine owned the land where these battle scenes were shot and he got a job re-priming the muskets with gunpowder in between takes. Great times!
Def a great time working for stanley as i did many years later.stew fmj crew.
Very cool story!
It's hard to imagine "normal people" owning property in such a masterpiece of cinematography!
Awesome! Thanks for sharing. ✨✨✨
So how was it like to work as an actor in Kubrick`s movie? Was it as exhausting as people say?
I hope the catering was good?
feel free to work on kubrick for ever
tru
More Kubrick on the way!
forever and ever and ever.
ua-cam.com/video/9Gtc4DHYvc0/v-deo.html
yes please
The first time I saw Barry Lyndon, I slipped into a coma. On the second occasion I was fascinated by Kubrick's accomplished (actually unparalleled) cinematography. On the third occasion I was entertained by his dry sense of humour. Thereafter I saw this film more than a dozen times, each involving new discovery about his transcendent genius, far above all his peers.
barry lyndon is his best.
As if u r a fuckin movie lord with ur 10 bucks
It's John Alcott's cinematography.
I watched it for the 1st time a few weeks ago and I´m still in a coma.
I wish he made the napoleon movie 😔
It´s not boring , it´s bretchian, slow, profound, melancholic, disatached, like a sage recalling an old and moving story. One of Kubrick´s best films.
It's like a multi course meal in a fine restaurant. Most films nowadays are like fast food.
Fuck Brecht
It's interesting to note that you exclaimed, "It's not boring" ...
This may of course depend on who's watching the film, as I have never actually watched Barry Lyndon all the way through, yet now watching this great recap of all the camera and lens work I'm fascinated to watch the entire film, as I've done a lot of experimentation with cameras and artwork since I was a young Jr High student in the mid-1960s. I've since then become a big Kubrick fan because of his 2001: A Space Odyssey, which I saw at age fourteen in Portland Hollywood movie big screen just st after it's debut earlier than year. I had just bought my first astronomy telescope as a 13 and a half year old in 1967. So this was my experience of seeing my first Kubrick film at age 14, in the summer of 1968. I couldn't believe that I later heard people walked out of the theater after the first 20 minutes, of 2001: A Space Odyssey. Imagine that they were actually bored.
I was also playing with our family's Kodak box camera that my parents allowed me to use when I was a young child. And by now at age 14, I had attached the camera to the top of my meager 60mm Tasco refractor telescope to take time exposure photos of the night sky.
I probably saw Dr Strangelove, soon after 2001, on late night television.
Being an astronomer and early artist in childhood, led to my artwork being shown in NASA websites quite often, about 10 years ago. So by my college days, in the early 1970s, I was already performing experimental photography with time exposures of the night sky.
It's also interesting to note here that they recently reported in the news, the audio interview with Stanley Kubrick in 1965 done by the New Yorker magazine, about the time he just started working on 2001, you can look this up and listen to over an hour of him speaking about his early development of movie making in the early 1950s. Kubrick could not pass college entrance exams earlier, about the time he was working for LOOK magazine in the late 1940s. So he went to take night college courses in science. It's an amazing hour long interview with him in 1965, by the New Yorker magazine.
Alex, that's a great way of putting it.
One reviewer at the time called it "cinematic wallpaper." I love the movie.
An often overlooked masterpiece of Kubrick's, amongst a career of masterpieces. These films were nowhere near as expensive as those of nowadays... but they're far superior not only aesthetically, but narratively and more importantly, dialectically.
@Rob C A lot of movies with CGI (animated movies) are phenomenal.
@Rob C ok boomer
Not overlooked anymore, finally the world is beginning to appreciate its brilliance. I think it is one of the very few films without ANY flaws whatsoever. Not a single one! Not a single superfluous second. Even a game-changer like 2001 COULD have used some slight shortening of a few scenes, but with Barry Lyndon it is impossible to think of any such cuts.
@@ulfingvar1 6:21 wants a word with you...
2001 was less expensive than what we have today?
Definitely my favorite Kubrick film. However, can't get very many people to sit through this one with me, even though the pace is faster than 2001 which most people adore. I think the fantastical themes and mystery to 2001 are more universal to audiences, but Barry Lyndon is undeniably the top drama set in this period of all time.
nolanb21 agreed, I think start to finish this is his best work
I will have to give it a 3rd go. Tried to view it twice before , but I got bored. I love all his other films , but this one is indeed challenging to sit through I must admit.
The same people have never watched 'Gone With the Wind' 'all the way through'. How many Americans have actually read 'War and Peace'? How many have seen all five hours of Bertolucci's '1900'? They would say, "I don't have time," and then rather watch ten people run up and down a basketball court, or wander through a mall, or play Bingo... for the same time.
Agree..., up to some point.
"2001" IS NOT a movie. It owns to a different and higher form of Great Art.
No attempts (and there has been a good lot) to imitate it in cinema have achieved their purpose, because no filmaker seems to have understood this.
"Barry Lyndon" IS a movie and a undeniable all-time masterpiece.
I don't remember how many times I've seen it, and every one I enjoy it more.
it's very dangerous to assume what ones exposure to culture and fine art is based on their nationality. What a childish statement to make.
As a cinematographer, this was the best breakdown of the filming and lighting style Kubrick used in this groundbreaking film that I have seen. Excellent work. Subscribed.
I have understood only half of what was explained. I am learing, well I am willing to learn the work of a cinematographer.
But as a cinematographer, is this information still useful to you? Are Arriflexes still in production, or do you have to settle for Reds and similar digital contraptions? You'd either have to have a director with the same sort of insight and technical legerdemain that Kubrick possessed, or become a director yourself.
@@commandercaptain4664 Kubrick actually knew well about photography because this is how he discovered his passion. He started as a still photographer before getting into movies. So he just had knowlegde about it. It doesn't matter what kind of cameras you work with, wheather it's analog or digital, the rules of photography apply to both of them.
@@commandercaptain4664 jesus, young people with their 10k REDS and raw footage. study more about character blocking and story development instead of focusing which camera is the best and spluring thousands without knowing how to light a scene.
I have been a fan of this film for many years yet this is the first I have heard that artificial light was used outside the windows during interior shots. Excellent video.
Barry Lyndon is an eternal Masterpiece, period.
Tony Gazza they don't movies like they use to.
It's only a 'masterpiece' if you can watch it in the comfort of your own home, pausing for bathroom breaks as necessary. Viewing it in the theatre at the time was an ordeal few moviegoers cared to endure! I saw it in a big city theatre that should have been packed. It was mostly empty and few of the audience stayed 'til the end. To be honest, I don't even remember if I walked out or not. I think word of this stinkeroo got out before the day I went. IOW, audiences stayed away in droves. And, remember, Kubrick's prior film had been a hit, so that's saying something.
Indeed.
Russ and Zak. It went over your head is what you are really saying.
Yes - if people don' t enjoy this quality of cinema let them sod off and watch the rubbish they do enjoy. I have no problem with that. But some of us need something more intellectually or artistically challenging be it in cinema or literature. Does that make us wrong??? I don't think so.
i was blown away by this film. couldnt really have cared less about the story or characters, but every single shot was just so masterfully composed and edited that it could bring a tear to your eye. i think the reason why it was so emotional was because of the brilliant score.
Emilio D'Alessandro pointed out that on Lyndon Kubrick would often wait for things like a cloud to pass for lighting purposes but keep it to himself and it got to the point where the crew was extremely frustrated wondering what the hell was the wait up was
Reminds me of the story of Bergman making "The Seventh Seal." Bergman or his cinematographer (can't remember which) noticed a certain cloud formation toward the end of the day that was perfect, and they hurriedly staged the final iconic "dance macabre" scene along the crest of a hill.
Among the many gems of the 70's Barry Lyndon is a diamond. Timeless art.
I wasn't old enough to go and see "Barry Lyndon" when it was first released- but I do remember that the reviews - in Britain at least - were almost uniformly terrible( "too slow" "boring" etc.) When I finally saw it for myself as an adult I was mesmerised by its beauty , It's still one of my favourite Kubrick movies.I'm glad it's now recognised as the masterpiece it always was.
The character played by Ryan O'Neal is far more sympathetic than Thackeray's original Redmond Barry in the novel - who was apparently based on a real life 18th century chancer.
Andrew Robinson Stoney.
TheDativeCase to be fair it is really slow. The movie is an incredible achievement, but I can understand why someone who’s just in it for the story i.e. most people would find it boring. The film was always regarded as an incredible technical achievement, but outside of a few movies buffs no one is saying “oh I want a good evening, let’s watch Barry Lyndon”.
@@drunkenmasterii3250 Yeah, and that comes from a lack of appreciation of art. People want entertainment and not art. Nothing wrong with that.
Boring, eh? Let's see...
The film opens with Barry's father getting killed in a duel. Then it kicks off with Barry falling for a girl, losing said girl to another man, "killing" said man in a duel, and going on the run. From there he gets robbed a gun point, joins the army, gets into a fistfight, survives a skirmish and watches a close friend die, deserts, has a brief affair with a peasant woman, gets caught and shanghaied into service by the Prussians, saves a Prussian officer's life in a battle, gets roped into being a spy, joins up with another spy, disguises himself so he can be smuggled out of the country, runs a con game, engages in a sword duel, seduces a noblewoman (without even saying a word to her), marries, and finally retires to his cushy new estate to enjoy the finer things in life.
And that's just the first half of the movie.
I was at a screening of the doc, KUBRICK REMEMBERED, and Leon Vitali (who played adult Lord Bullingdon) revealed that Kubrick bought into the critical trashing the film took, and it wasn't until he happened across it on TV during the filming of FULL METAL JACKET that he sat down and watched a good chunk of it, and said to Leon, "I did make a good film, after all."
It truly is incredible how almost every scene in the movie looks like a beautiful and dramatic painting.
Not to quibble, but the film was also shot in locations in Germany and Scotland.
This film, of course, allowed Kubrick to do something with the research which went into his cancelled Napoleon film.
It's also worth noting that, although he did a great deal of work with other writers in preparing his screenplays, this is the only film he wrote a screenplay for on his own.
In his memoir, Kubrick's driver, Emilio D'Alessandro, writes a great deal about this film's production and about Kubrick's logistical brilliance. The cost of transporting the huge number of extras and actors would have been enormous using the standard method of leasing a huge number of vehicles. Kubrick discovered it would cost much less to buy a fleet of Volkswagen buses and have them available at any time. When production ended, Kubrick had them sold - and made a profit.
Thanks for the info!
Thank YOU for Tylerizing UA-cam! You're a genuine Mr. Know-It-All, but you're not a jerk about it. I mean, you could crush us all with the sheer majesty of your gigantic brain . . . but you don't! You're a role model for all of us. :)
I'm a cinema geek on three subjects: Kubrick, Truffaut, and silent cinema.
I make films, too. I'm about to step up to 4K. It's going to be annoying as hell since I create silent films - in black and white. All that technology at my fingertips - and I'm using it to make films that would've been cutting edge - in 1925. What a waste!
TheStockwell Where in Scotland, first I've heard of it.
What do you think of Allan Dwan?
I have a soft spot for Dwan. He wasn't an artistic director in any way, but he was a man who made films, and some of them very good, for half a century. I learned about him in Kevin Brownlow's BBC series about the history of the silent cinema. Dwan became a director after being sent from New York to find out what was going on with a film being made in California. He arrived and found the cast and crew doing nothing - and being paid for it - because the director was drunk and nowhere to be found. Dwan's employers told him he was now a film director, whether he liked it or not. As Dwan tells it, he told the cast he was now the director of the film and they'd better accept it - or the film would be shut down and they'd be unemployed. One crew member said, "You're the best damn director we've ever seen."
One of THE greatest achievement of 20th century art.
your channel is grossly underrated compared to other film analysis channels. Thank you for these videos, keep up the amazing work
Thanks so much for your kind words! I really appreciate it!
hi, could you recommend me some other analysis channels.
Yeah! This guy is really good!😁👍
"I have not received satisfaction..." Great touch! Fantastically informative video
More Barry Lyndon please
Pretty quality video on Kubrick and the techniques he used, especially with lighting. Not knowing a lot about film, I never really took into account lighting as a whole and it's importance but this really helped me. Keep up the good work.
If you are interested about Kubrick's Practical Lighting, check Entertain The Elk's video which is about
I have waited all of my life for this exact description and history of the making of this film. Thank you.
YESS!! Ive been waiting for a vid on Barry Lyndon. It is truly an amazing film. Thank u for making this
Thank you so much for posting this brilliant and informative video. "Barry Lyndon" is one of my favourite films, and I thought I knew a lot about it... until I saw your video. I live in Wicklow in Ireland, and a lot of "Barry Lyndon" was filmed in this area. You've done a great job explaining the exquisite lighting effects in this masterpiece. Thanks again, from a Kubrick Fan in Ireland
I was actually in this movie, along with my younger brother an my dad. My brother and I only did a couple of days on a couple of sets, as peasant children. My dad was on it for months, playing various roles as a redcoat, and gambling gent.. Infact he had a fight scene with Ryan O'Neil. Great doc btw,,and loved the Alien ones too. Keep up the sterling work
Some of the best cinematography I've ever seen
Tyler. Your technical analysis of Kubrick's work are by far the best on the web. You will do his greatest work great honor if you continue exploring it further. And we will cheer your exploration. Please keep up the good work!
In addition to the unrivaled cinematography, Barry Lyndon is full of sarcastic sense of humour, making this film doubly more enjoyable. We will never have a director of Kubrick's calibre in every element of film-making. Incidentally Ryan O'Neal followed the path of Barry Lyndon in his real life, sadly.
This is well made. Barry Lyndon is one of my favorites. Your attention to detail is impressive
More Barry Lyndon please.
Each time I watch this movie I like it more and more. I can't believe how little bonus material there are on the DVD / Blurays.
"I have not received satisfaction." Brilliantly placed.
Kubrick is my favourite director. An astonishing visionary.
terrypussypower Agreed!
When I really think about it, Kubrick HAS to be my favorite as well...🤔👍
You have these amazing details that I've never heard in any other channel. Keep up the good work, teach us more tricks.
Kudos for this clip! I'm very glad that this was not only above the Zeiss lens. There is so much more to say about the technical aspect oft this film, and a lot of it was covered in this well researched video!
Terrific video. Lots of things new to me and so well presented.
Im so happy he made the first part in Ireland. I often travel around to certain parts of my country and just imagine some kind of great movie being short there. To be fair we've had Starwars, we had a not very well known one by Francis Ford Coppola, we were supposed to have one with Brando and Johnny Depp shot in Cork but that fell apart, and lots of brilliant Irish movies were of course shot in Ireland none the less and they are some of the best movies ever made and i challenge anyone to prove me wrong; we have made some classics. But im glad Kubrick enjoyed his time here, which was something like 300 days!?, until the dopey Ira told him to leave.
This was absolutely amazing! Great job - hope to see more stuff on the Kubrick
Dearest Tyler... I WANT MORE BARRY LYNDON!!!!!
Thank you again!!! I watch this again and again!
This is a wonderful presentation. Kubrick's genius is justifiably acknowledged, but you have given new insights into this often overlooked masterpiece. Thank you
As a man of Kubrick’s films (alongside others). I’m going to say the same thing everyone else is saying.. Beautiful. Not because I am boring, but because I’m still stunned 17 years later ☺️☺️💛
This is a fantastic video, thank you! It's so in depth and put together so well. Plus, I'm glad Barry Lyndon is getting more attention, I feel that it's kinda underrated.
A most impressive upload, one which those of us who work in the motion picture industry appreciate to the fullest. Keep up the great work.
When I saw this film on first run in an America theater, no one laughed. It got mixed reviews (Pauline Kael called it a coffee-table movie) and it was not a financial success. It won Oscars for cinematography, art direction/set decoration, costume design, and music/scoring, but it was more admired than liked. When I saw the film six years later in London, England, the audience often laughed; they followed its wry and sly humor, and were with it every step of the way.
really awesome detailed video
A Barry Lyndon essay that is about the cinematography but isn't JUST about the zeiss lenses. Praise be to Tyler!
I will watch Barry Lyndon again with a greater appreciation for the technical aspects. Thank you Tyler.
I always thought Barry Lyndon was closest to his photography work, this flick may just be the epitome of 'moving pictures'.
The ultimate movie craftsman...an artisan. NO FILM these days at your big box office has been made by anyone who comes close to Kubrick. His dedication, work ethic, and sense of responsibility should inspire anyone.
RodCornholio I agree, nobody these days comes close.🤔👍
Thank marvel for that. Ruining the industry (actors, directors, special fx) but also ruining the minds of consumers and spoonfeed these junkfood movies which people forget the moment they leave the cinema.
Magnificently done Tyler, great analysis and a lot of new information.
Barry Lyndon painting masterpiece in movement.
Mr Kubrick picked up very early in life the common denominator in the human drama that played out wàs incredibly beautiful & worth
recording in the most beautiful way.
Brilliant video. Barry Lyndon is, in my mind, Kubrick's masterpiece.
A.J. Anderson-Yakowicz ABSOLUTELY AGREED! The wardrobe department nailed it. The historical atmosphere of the movie makes one feel as though one truly is indeed in 18th century. Just a masterpiece of cinematic photography. It's my favorite of Mr. Kubricks work. Even more than 2001.
Reminds me of that Simpsons joke: "Old Man Yells at Cloud"
HAHA!
Beautifully done, Tyler!
I must admit I'm not a Kubrick fan; thought I'd die of boredom during "2001" and couldn't get into "Dr. Strangelove" (I need to give those movies another chance after 45 years), nor have I ever cared for Ryan O'Neal, BUT "Barry Lyndon" is one of my all-time favorite movies. I saw it when I was a senior in HS in 1976 and was blown away. Everything about it was perfect: the narration--which was originally going to be by O'Neal--the story, cinematography, costumes, acting, scenery, it all works. Sheer perfection. Each scene is almost like a painting. And I thought Marissa Berenson was so beautiful, she was on the cover of TIME right before the movie was released because critics felt Kubrick was taking a big chance w/a top model in a starring role, but she did a wonderful job. A very underrated movie!
Not enough emphasis placed on Cinematographer John Alcott in this video. English cinematographer Alcott was one of the very best, and _he_ won an Oscar for _his_ work on Barry Lyndon.
It's not just beautiful to look at but the story is so damn awesome. Humbling is the word for me.
I love this movie through and through.
One of my favorite films of all time. Though at the time I had not a clue about lighting, I so enjoyed its raw and realness. This is real life. Moment by moment. All these challenges shine supremely through the genius of collaboration by so many of the creatives who worked on this project. I have so much admiration for Stanley Kubrick's work!
Light was such an integral element of this film it feels as important as the dialog or acting. Great video, thank u.
This is great - might also mention the use of graduated neutral density filters (dark on top fading to light below) in almost every wide exterior shot. Also - large banks of non-practical candles with reflectors were also being used to light the candlelight scenes.
Much like most things mentioned, grad liters are 'standard issue' in any cinematographer's kit, not some magical item invented by Kubrick.
Thanks! I haven't read anything about non-practical candles. I was wondering if they did anything like that. Where did you find that info?
The density filters I was completely unaware of. Thanks!
Yes. The are called graduated filters, or grad for short. They are used to darken part of the frame and are very useful when trying to darken the sky, which often photographs brighter than it appears to the eye when exposing for the things below the sky (ground, people, trees)
static.bhphoto.com/images/images750x750/1456508311000_292653.jpg
Yes the graduated filters have been around for decades but Kubrick made big use of them.
The zoom lens is a 20:1! Still the only cinema lens that exists today that can do 20:1 is the Canon 50-1000, which was just released a couple of years ago.
Alcott used an Angenieux 25 - 250 t/3.8 ( Which you also note is a 10:1 ratio. )
@@JohnDoe-ev9kt Having had an identical 25-250 Angenieux, I can attest to John Doe's answer being correct. From the moment the film was announced to be in production, to my purchase of the American Cinematographer Barry Lyndon issue at Samuelson's Film Services in London and long afterward, I almost feel like I was completely absorbed by the project.
You can imagine how pleased I am that my son teaches film and video production, and is as enthusiastic about the work of Stanley Kubrick as I am. I think our conversations at dinner have left many friends and family members feeling quite left out.
this is the most beautiful movie to look at and listen to, ever. The slow pace was perfect as it allows for the audience to obsorb the opulence of the senses.
Glad I found your channel, these are very informative videos and I appreciate the amount of research you did.
the best cinematography ever in film, such complex craft and beauty.
Yes I want more Barry Lyndon
I routinely come back to watch Barry Lyndon. Not just because it's a great movie but mainly because it's great art
Thank you for dispelling the myth about 'only using natural or candle light' in this great film.
It only makes the work more formidable, because it *looks* so natural.
Tyler,
Thanks so much for such an amazing piece of the cinematography...You have gotten a new subscriber. I would love to know where you got all the behind the scenes photos of Barry Lyndon also. Keep up the amazing work.
Thanks, Scott! A lot of the wonderful photos came from the post Cinephilia & Beyond did on Barry Lyndon (link in the description). Others came from the Stanley Kubrick Archives book and various other books.
11:19 _Kubrick also wouldn't plan any shot until everything was _*_lit_*
The scene where Bryan is dying on death bed and talking to his parents about loving each other brought tears to my eyes. This film is a masterpiece
what an excellent presentation, absolutely riveting throughout,
with amazing technical dteails
My no.1 favourite movie of all time, he used some NASA lenses usually for satellite cameras only at the time because they were the only ones which could give a low enough f-stop (small camera aperture) to get the correct exposure on film given the low light given by candlelight (I've watched the video and you refer to the Zeiss lense I see, the one with the lowest f-stop in the world at the time). My no.1 director of all time also, an extraordinary man, amazing.
Love this video. It does reflect the artistic process he had and that is rare. Kubrick wasn't just a director.. he was an artist. Thanks
This is excellent. Thank you very, very much for the technical analysis.
Great video! Barry Lyndon is my most favourite film of all time. Thank you!
A large reason why the tracing paper bloomed like that was because Alcott used a Tiffen No.3 Low Contrast filter throughout the whole film.
I've heard people say Kubrick was bored while filming this movie that's why it was so bad. I think it's a masterclass in cinematography, every shot is a work of art. I watch it at least twice a year to remind myself what framing and composition is all about. It's a perfect example of " Moving Pictures ".
An absolutely wonderful discourse on the making of Barry Lyndon, especially the detail on the cameras and lighting. Pure genius by Kubrick, a towering artist of the 20th Century. I am going again to some these locales in Ireland - and video like this makes it more meaningful.
Tyler, I hope you are or will be a film class instructor. This was an amazing master class in how complicated film making was before the digital era, and how inspired Kubrick was. Brave for sharing your passion and your keen eye.
I adore this movie. Great work.
Thanks!
One thought that always comes back to me is what if Kubrick originally made the Napoleon film he was working on. What an epic that would have been...At least we got Barry Lyndon out of it.
This video is very well done. I've watched dozens of videos about critiquing film but this one stands alone amongst the rest. It was very pleasing to watch and learn. Thank you.
Great video, lots of fascinating information and care. I'm going to watch another one now. Thanks!
of course we want more barry lyndon, what kind of quesion is that?? :D
more and more barry lyndon
Congrats you have just earned another subscriber. Keep up the good work Cinema Tyler!
Oh my gosh, +CinemaTyler, Im so excited!!! I just see that you did one of the shining!!! Cant wait!
BL is one of the best cinematography I have seen. Unforgettable.
The most beautiful movie ever filmed.
Fascinating. I thought I knew quite a bit on the production - but it was a delight to uncover further detail I had missed - such as the projection lens fitted over the 50 for the candlelit scenes. Very cool. Would love to see any video you make on Kubrick in the future.
Very well done. Possible correction, most lenses have an aperture control ring on the exterior of the lens. Minus specialty lenses that are fixed aperture and some historical lenses where aperture plates are dropped into the lens. Also T stops and F stops are two separate things. T being the amount of light the glass and any coatings allows through the lens and a correction of the F which only measures how wide or narrow a lens can open. The camera body for the "NASA" lenses which were extras left over from a custom order NASA placed, also has some unique history in that the owner didn't want them sold as they are considered unreplicable and was horrified to discover a staff member sold them. Due to their unique construction and considered one of the best film video cameras ever made.
Glad you liked it! Thanks for the correction. If I remember correctly, in the interview with John Alcott, he mentioned that they were able to control the aperture via something mounted on the side of the camera. I'm not too familiar with the differences in T stops and F stops, but whenever I mentioned a T lens or an F lens, I am actually quoting directly from a source.
CinemaTyler Yeah unfortunately the lingo gets used incorrectly but correctly when randomly interviewed confusing things for everyday readers. Basically the T stop is a more precise way to measure how much light is actually hitting the film or digital sensor compared to F stop which also adjusts the focal plane. With historical movie films they only had low ISO film stock available for use for a long time making it vitally more important to measure in T stops since film based movies was/is more expensive to redo a scene. Whereas a digital system, they can just adjust it more easily in post as long as it's within a stop of where they need to be. Then they can even do HDR blending to adjust the sky and other elements that need adjustment but they try to do as much in camera with correct lighting of all the elements to save on post costs. Seven Samurai is a good film to review as well known for its deep focus like Citizen Kane but done differently. With the low ISO film stock they had, they used very bright lights to accommodate the narrow F stop and then factor in the T stop for correct exposure. If I recall correctly it's almost all done at F 64!
A follow focus can be used to control aperture as well, as long as the lens has a geared aperture ring. The follow focus would be mounted on 15mm or 19mm rails.
Of course, but most motion picture lenses have no need to be fitted with a remote f/stop control. Generally once the director of photography calls the stop for a given shot it remains set for the take, if not the entire angle.The constant tweaking to compensate for continual brightness variations during often very long takes is what led to it's use in Barry Lyndon. I think that was the point being made here.
Both adjust the depth of field - in that regard f/stops and T/stops are similar. T/stops are f/stops with a 'fudge factor' to allow for light scattered and absorbed by the optics. A lens set to f/4 which loses a half stop of light would be said to be said to T/4.5 to compensate for exposure - however depth of field must always be based on the f/stop, not the T/stop.
T/stops were developed by the Technicolor company when they used to shoot colour motion pictures with camera that shot 2 or 3 black and white negatives simultaneously back in the 20s and 30s (hence the "T"). These early colour camera systems were rated at somewhere around 5-12 ASA, and light losses in the special lenses they required meant they devised a sort of pseudo f/stop used for setting exposure (but not depth of field).
I don't see how this would have a bearing on the need to ride the aperture during Barry Lyndon though.
I can't wait for the Criterion BLU-RAY release in October.
Fell absolutely in love with film at 2am in the late 90s not even knowing what it was... just seeing that Kubrick directed it in the description. It is a slog to the uninterested or uninitiated, but it has the most beautiful shots and wardrobe(authentic too) ever caught on film. Absolute master work by the maestro and crew.
An informative video on Barry Lyndon, Cinema Tyler. Thank you for enlightening me on one of my favorite films. Subscribed!
Oh, minor mistake right at the beginning. Some of the locations were in Germany too.
Thanks for the correction. Apparently I left out Scotland as well. It was that dang Time article I used...
6:22 and Kubrick is spinning in his grave 😂
It puts paid to the idea that everything within a frame of a Kubrick movie was meant to be seen; sometimes even the best make mistakes.
This channel is simply amazing.
Wonderful work! Thank you for all these amazing insights on Kubrick´s magic!
Kubrick out of series a genius