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Film stocks used in the Beatles Let It Be movie

Film stocks Beatles Let It Be

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#21 John Holland

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Posted 14 March 2018 - 09:27 AM

I was told everything and met the Dp day before for a beer .


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#22 Bernhard Kipperer

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Posted 14 March 2018 - 09:41 AM

Ah, Tony Richmond, right?

Were you nervous because it was such a big band you were about to meet? Ever been a fan?

 

Did you ever get to see any dailies/rushes of what you have shot or only the final movie when it was shown in the cinemas?

Some black and white rushes surfaced on Youtube, but none from that day, and I don't think color rushes were done back then for that movie.


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#23 Mark Dunn

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Posted 14 March 2018 - 11:04 AM

B/w rushes from colour neg were always a bit cheaper. I assume the difference was less by the 70s but even when I was at college it was a penny or so a foot, maybe 10 or 15%. Of course cinematography students weren't allowed to save money that way even if we'd wanted to- the colour was kind of important.
I came across some b/w rushes in archive recently. Perfectly serviceable if exposure was spot-on. And I'm sure John's was ;)

Edited by Mark Dunn, 14 March 2018 - 11:05 AM.

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#24 John Holland

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Posted 14 March 2018 - 01:51 PM

Yes Tony Richmond one of the first films he got a Dp credit on . Never saw any rushes . No not nervous and yes loved The Beatles . Mark my exposures are always correct ! in this case as we knew it would be blown up to 35mm  over exposed 1/2 stop to keep grain levels down .  After that I have always over exposed .


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#25 Bernhard Kipperer

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Posted 15 March 2018 - 04:46 AM

Did you see the recently released Beatles 1 Bluray? The shots taken from the Let It Be movie in there look absolutely awesome.

None of the older video or DVD releases do the film source justice, it always looked so blurry, but that latest scan shows the beauty of the 7254 and I agree, the rooftop shots in particular have much less grain than other shots.

 

I just wonder why many of the indoor shots show quite some amount of hairs in the gate, really big ones in many shots.

Was there a higher probability for this to happen with the used equipment of the time or rather caused by the hectic schedule of the documentary?


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#26 John Holland

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Posted 15 March 2018 - 08:34 AM

Hairs in gate .Gate not being checked enough prob. To do as you say hectic schedule but should not have happened .


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#27 Mark Dunn

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Posted 15 March 2018 - 11:17 AM

Probably a bit easier to check in the BL than in the Auricon, but even so I bet there weren't any hairs in John's gates.

Edited by Mark Dunn, 15 March 2018 - 11:18 AM.

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#28 John Holland

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Posted 15 March 2018 - 01:16 PM

Stop taking the piss Mark  :rolleyes:


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#29 Mark Dunn

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Posted 15 March 2018 - 01:20 PM

I really don't know where that came from but I'm sorry you feel that way. It wasn't my intention. Just a bit of banter. It's an industry I was never really in.


Edited by Mark Dunn, 15 March 2018 - 01:21 PM.

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#30 John Holland

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Posted 15 March 2018 - 05:28 PM

Dont worry Mark only mucking around  :D


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#31 Mark Dunn

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Posted 16 March 2018 - 02:07 AM

Scamp ;)


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#32 John Salim

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Posted 17 March 2018 - 06:08 AM

I was using An Arri BL , Yes on rooftop shooting Get Back , back of my head is seen a few times I was lying down on the floor in the front .

 

Shooting handheld with that Arri BL & 1200 ft mag must have been a bit of a handful John !

How's your back ???

 

John S  :rolleyes:


Edited by John Salim, 17 March 2018 - 06:09 AM.

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#33 John Holland

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Posted 17 March 2018 - 07:06 AM

I tried with the 1200ft but it was silly so changed to 400ft mags .


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#34 Bernhard Kipperer

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Posted 17 March 2018 - 09:26 AM

Was the camera you used there yours?

Before or after the shoot, did you get to talk to anyone from the band or to the roadies, engineers..., the police that came up later on?

Did you get any specific instructions on what to concentrate on, or did you decided for yourself what to shoot and when?


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#35 Mark Dunn

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Posted 17 March 2018 - 09:41 AM

John may have been fortunate, but BLs cost as much as cars in 1969 and they didn't get any cheaper. I have an Arri price list from 2006 and a 16SR was nearly €40,000 body only. A 535, €117,000.
The era of broadcast-quality cameras costing only a few thousand pounds, euro or dollars is very recent.

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#36 John Holland

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Posted 17 March 2018 - 01:02 PM

Camera was not mine would never buy a camera . Well there was a sort of chat about what was needed , but shots were mine . No didn't talk to roadies etc . I think I was off to to Kenya the next day for a shoot.


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#37 Ted Keaton III

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Posted 17 March 2018 - 07:14 PM

My favorite film, my favorite band, playing my favorite song.

Holland, I am embarrassed to say how much I have watched this film/song and sent the link to others. 

It always leaves me mesmerized... their confidence

 

Complete slice of history you captured here... something for the ages.

 

 

https://youtu.be/NCtzkaL2t_Y


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#38 Bernhard Kipperer

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Posted 17 March 2018 - 07:26 PM

Hey, another Beatles fan!

One of my favorite songs and by far my favorite of their films, so much energy and this is such a great live performance!

 

These might be shots John did, they seem to come from the right direction: See at 00:45, 1:00, 1:13...

Especially like the fast zoom-out at 1:40 from Ringo, revealing Paul and John (Lennon this time), beautiful!


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#39 Christopher Ian

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Posted 21 March 2018 - 06:06 AM

John, the rooftop performance is my favorite musical moment of all time, and it's amazing you were there to capture it.

 

What were your thoughts as to the then-new music they were performing feet away from you?


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#40 John Holland

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Posted 21 March 2018 - 05:29 PM

Didn't sound that new to me at the time . My mind was more on exposure framing thinking up good shots focus etc.


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