Jul 27, 2017
1992, 1994, 1995
seen from United States
seen from France
seen from United States
seen from United States
seen from France
seen from United States
seen from India
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from South Korea
seen from United Kingdom
seen from Italy
seen from China
seen from United States
seen from United States
seen from Russia
seen from India
1992, 1994, 1995
Director of photography
John Seale
John seale is a Director of photography He was born the 5th of October (1942) Australia he is known for working on The English Patient (1996) , Rain Man and Harry Potter and the philosopher stone (2001)
The films that John seale has worked on
· BMX Bandits (1983)
Witness (1985)
The Mosquito Coast (1986)
The Hitcher (1986)
Children of a Lesser God (1986)
Stakeout (1987)
Rain Man (1988)
Gorillas in the mist (1988)
Dead Poets Society (1989)
Till There Was You (1990, director)
Lorenzo's Oil (1992)
The Firm (1993)
The American President (1995)
Ghosts of Mississippi (1996)
The English Patient (1996)
City of Angels (1998)
The Talented Mr. Ripley (1999)
The Perfect Storm (2000)
Harry Potter and the Philosopher's Stone (2001)
Cold Mountain (2003)
Spangles (2004)
Poseidon (2006)
Prince of Persia: The Sands of Time (2010)
The Tourist (2010)
Mad Max: Fury Road (2015)
Link to article on John Seale: http://www.cinematographers.nl/PaginasDoPh/seale.htm
Three films that John Seale was DOP in
Spanglish Release Date December on the 17th of 2004
The cast is JOHN CLASKY, Adam Sandler, FLOR Paz Vega, EBORAH Tea Leoni, CRISTINA Shelbie Bruce, EVELYN Cloris Leach man, BERNICE Sarah Steele, GEORGIE Ian Hyland The Director of the film is James L. Brooks who also screen played it and the director of the rated age is PG-13 for some sexual content and brief language
Cold mountain was made in 2003 and is 154 min the genre’s are Drama, History and Romance the film was released the 2nd of January 2004 in the (UK). The director of photography was also John Seale.
The film The Tourist was made in 2010 starring Johnny Depp as Frank Tupelo and Angelina Jolie as Elsie Clifton-ward, Directed by Florian Henckel Von Donnersmarck. Playing 103 minutes long the genre is Action Romance, Thriller the film was released on the 10th of December 2010 in the Uk.
Said by John Seale
When and where were you when you were first introduced to Panavision?
Source:
http://www.panavision.com/cinematographer-john-seale-asc-acs-talks-about-tourist
JS: I was introduced to Panavision in the early part of my career at ABC (Australian Broadcasting commission. We always used 16mm for newsgathering, since the PAL system could handle that small negative with an acceptable result. All commercial news gathering was shot on 35mm 2C Arriflexes, which was then screened in cinemas around the country. It was not until the late 1960s that the ABC went into a form of episodic television that they then felt should be shot on 35mm, so we started to shoot with a blimped Mitchell R-35. After I left the ABC, I began to freelance. I had to drop back to focus puller and then rebuild my reputation as an operator. In the early 1970s, the smaller and lighter PVSR Panavision camera made an appearance and it was great to have them. At the time, they were distributed by Samuelson’s of England
Q: What influenced your decision to become a cinematographer? JS: After I left school, I worked in Sydney doing various jobs, but ended up footloose and headed west, as young men do. I ended up on a 30,000 acre sheep station with a bunch of smelly horses and punchy co-workers. I was using an 8mm camera to record the country life and, after 18 months, this appealed to me much more than falling off horses, so I headed back to Sydney to pursue a career in film.
Because you shoot internationally, do you always work with the same crew, and who is that crew?
JS: Working internationally makes it hard to carry the same crew, because I had to adhere to local unions and/or country jurisdictions, i.e., the EU block, or the New York/LA regulations. Also, budget considerations were a factor: the production would only take in certain “keys” and the rest had to be local. I have been able to keep a crew together for a while, but not in continuous work.
Q: As someone who shoots internationally, what are the benefits of using the Panavision system?
JS: Panavision systems have been with me from day one (although I did shoot “Gorillas in the Mist” on the other system). The reason came down to a technical reason: i.e., Panavision has a filter slot behind the lens, which is simple, but it solved all of my desires to see a bright, sharp image thru a heavy ND filter while using hi-speed stock. The cameras were always camera-operator friendly, and as they developed the range, they listened to camera operators and DPs, so were able to help them design a very compatible system.
Q: How much of that decision is related to your artistic take on the script vs. that of the director?
JS: There has to be a different approach to the different formats. Anamorphic is a 2-shot format, i.e., the frame is so wide it is difficult to get a clean single. So sometimes it is best to go for the 2-shot rather than dirty singles, which means the film will be edited in a different manner as well, since the editors may not have to cut the film as much to get the scene. Sound is compromised with 2:35 digital extraction, especially if the studio wants to retain a 4-perf negative: for the negative to clear the boom is always kept well away from the actors, but less so if it is “full cover” (negative anamorphic that uses the full height of the negative).
Q: Do you have a different approach in how you shoot anamorphic vs. spherical?
JS: The approach to the different formats are basically the same regarding grip gear and lighting gear, although anamorphic does require a consideration of more equipment to cover the wider area and an increase in light values to take into consideration the slower lenses of full cover anamorphics. Not much else is changed other than the artistic approach to the film.
Q: The last film you shot, “The Tourist,” was shot in anamorphic. Do you find that with the increasing use of digital, it is easier, or harder, to shoot widescreen format?
JS: “The Tourist” was shot full cover anamorphic. I had not done this for quite a number of years, as most films are happy to do a digital extraction of the anamorphic format, from a spherical negative. The anamorphic extraction of the image from spherical lenses can be very successful, although it has a perspective change from full cover or "squeeze" lenses (this can be an important consideration to determine which system of anamorphic will be used).
Q: When shooting “The Tourist,” what can you tell us about how you designed your lighting to photograph Angelina Jolie.
JS: There is new technology in LED light that is incredible. That we can now handhold a small light -- self-powered and cool -- to use as fill light is extraordinary. Throughout “The Tourist” we used these LED “bricks” to fill all the actors in all situations. These were “fill” light and were supplementary to the overall lighting plan, which was designed to light the film to the director’s overall feeling of the look of the film. The versatility of these small "bricks" made it so easy to use in cars, on boats, and in small locations, to realize what we wanted.
Q: Are there any particular scenes in “The Tourist” you can talk about where you really pushed the envelope on lighting?
JS: There was a chase scene in boats through the Venetian canals at night that created some very worthwhile challenges. The prime lenses we used were around T2.6, but the zooms and others went to T4.5. Shooting multiple cameras with a range of stops like that was very challenging. By unashamedly using everything we had (i.e., force development...200 degrees…and digital enhancement), we were able to match all the lenses through that range. Venice is very dark at night, so everything we wanted to see was lit by the gaffer and his crew. This entailed lighting hundreds of metres of canal, in both directions, so we could shoot the action with multiple cameras.
Q: Do you have any favourite Panavision lenses? If so, why?
JS: My favourite lens is THE ONE that is shooting the shot, because it is the right lens for that shot. But I do love the 11:1 zoom lens. I think it is such a great piece of glass, has a fantastic range (24:275) and in spherical is a T2.8 lens. Some films have almost been shot entirely on that lens.
The Psychological impact of his work is so cinematic if John Seale is in other movies as the DOP you would want to watch it as you know he delivers perfection with his cinematic DOP.
Why he uses it?
John Seale uses it for his cinematic vision come to life.
10 day 'you' challenge
three films
The Harry Potter films. I can't just pick one as they come together so i'm going to cheat a little.
Bride Wars. I love Anne Hathaway, so anything that has her in i'll buy it and this is my favourite of them all.
Zombieland, watched this a million times and can continue to watch it.
Thor/ The Avengers/ Fox and the Hound/ Iron Man/ Project X/ Kick Ass/ 27 Dresses/ 21 Jump Street/ The Inbetweeners Movie/ Toy Story/ A Cinderella Story/ The Hangover/ Elf/ Step Brothers/ The Proposal/ Paul/ Knocked Up/ The Holiday.
Three Films
Hot Rod
Anchorman
The Little Mermaid