The movie Blade Runner, released in 1982 and directed by Ridley Scott, was shot on film using Panavision Panaflex Gold Camera and Panavision C Series Anamorphic Lenses, Panavision Super Speed Lenses with Jordan Cronenweth as cinematographer and editing by Marsha Nakashima, Terry Rawlings.
Anamorphic lenses are wide and can be used to show vast expanses like in the film Lawrence of Arabia, or as a way to emphasize the strange world of the future like in the film Blade Runner.
"We used contrast, backlight, smoke, rain and lightning to give the film its personality and moods," the cameraman says. "The streets were depicted as terribly overcrowded, giving the audience a future time-frame to relate to. We had street scenes just packed with people. . . like ants.
The use of practical effects and miniatures instead of extensive computer-generated imagery (CGI) sets the film apart from its contemporaries. The visual richness of “Blade Runner” contributes significantly to its enduring appeal, as even by modern standards, the movie holds up remarkably well.
I got to see a special screening of Blade Runner: The Final Cut in 35mm at the historic Egyptian Theater in downtown Boise, Idaho! It was presented by the newly formed Idaho Film Society. This was my first time seeing a movie on 35mm and it was a truly special experience.
Blade Runner initially underperformed in North American theaters and polarized critics; some praised its thematic complexity and visuals, while others critiqued its slow pacing and lack of action. The film's soundtrack, composed by Vangelis, was nominated in 1982 for a BAFTA and a Golden Globe as best original score.
In some scenes, the glow in the pupils of replicants' eyes creates a sense of artificiality. This effect was produced by cinematographer Jordan Cronenweth shining a light along the optical axis of the camera. According to Ridley Scott, "that kickback you saw from the replicants' retinas was a bit of a design flaw.
The special photographic effects for Blade Runner were executed by Entertainment Effects Group (EEG), which is a partnership between Douglas Trumbull and Richard Yuricich.
Rather, he and Villeneuve reprised the practical approach of their previous collaborations to capture the Blade Runner 2049 scenes. They shot the project in 1.55:1 aspect ratio from a single Arri Alexa XT Studio camera with Zeiss Master Prime lenses, assisted with an attached crane arm or a dolly.
Supervisors Douglas Trumbull, VES, Richard Yuricich and David Dryer – via Entertainment Effects Group – oversaw Blade Runner's Oscar®-nominated visual effects; work that was completed at a time when practical effects, miniatures, optical compositing and real film (in this case, 65mm film) were the norm.
Who was the cinematographer for Blade Runner 1982?
Jordan Cronenweth was born on 20 February 1935 in Los Angeles, California, USA. He was a cinematographer and actor, known for Blade Runner (1982), Peggy Sue Got Married (1986) He was married to Carolyn June Ervin.
The Bradbury Building was constructed in the Romanesque Revival style and the Ennis House was constructed in the Mayan Revival style. In making use of buildings that were designed in the revival style, Blade Runner uses older buildings as a way of connecting us into the distant future.
The best known versions are the Workprint, the US Theatrical Cut, the International Cut, the Director's Cut, and the Final Cut. These five versions are included in both the 2007 five-disc Ultimate Collectors Edition and 2012 30th-Anniversary Collector's Edition releases.
She weeps when they suffer and is heartbroken when they die, but is incapable of acting to stop either. Like so many people who feel helpless in today's society, Luv is a prisoner to her programming. Luv's first very-human tears come as she witnesses a murder.
This is when she slices his eyes with her katana, permanently blinding him. While Elle manages to escape with her life and leave Los Angeles for parts unknown, her actions may have actually motivated Wallace Jr. to become the ruthless CEO he is in Blade Runner 2049.
The film is rooted in a futuristic version of the film noir style. Film noir is traditionally shot with a low key lighting approach to play up the mystery and suspense of the film. The lighting scheme in Blade Runner helps achieve this same mysterious and suspenseful feeling.
While a spherical lens has a consistently curved surface (like a sphere), an anamorphic lens is shaped more like an oval. This asymmetrical curve produces an image that looks more compressed in width and more stretched in height — what's called a "squeeze factor."
Moreover, the fog contributes to the dream-like atmosphere, reminiscent of the first “Blade Runner.” It acts as a tool to direct focus, allowing Deakins to emphasize key elements within the frame while diffusing harsh light, creating a soft yet immersive visual narrative.
Blade Runner 2049 received numerous awards and nominations. At the 90th Academy Awards, it was nominated for five awards, and won two: Best Cinematography and Best Visual Effects.
When jilted by his father/creator, Roy expresses love by kissing Tyrell right before killing him—the kind of bruised, embittered love a child expresses toward an abusive, negligent parental figure.
"Blade Runner," to me, embodies the elegance, the power, and the uniqueness of a film experience It's the most classical, beautiful, purest movie-making writing and then the film-making itself is The images and the sound and the music, it's pure cinema Ridley came out with an amazing, brilliantly executed future of an ...
