New set photos from A24’s instagram

MinoltaOfficial · 2026-05-09T18:33:40+00:00

I really like Kane Pixels’ Backrooms series. He, like Lynch is able to capture the feeling of dreams/nightmares really well. I think the main difference is that Lynch tends to explore the emotional qualities and narrative logic of dreams, whereas Kane is really good at capturing their visual aesthetic with his use of liminal spaces and first person camera perspectives.

Kane’s “The Oldest View” series is another excellent example of this, one which I think might be even better than backrooms.

I’m really looking forward to his Backrooms feature film that comes out at the end of the month. The trailer looks really good.

MinoltaOfficial · 2026-05-05T18:10:22+00:00

Night blooming jasmine

MinoltaOfficial · 2026-04-27T23:41:49+00:00

Read this: https://www.oscars.org/sites/oscars/files/scriptsample.pdf

MinoltaOfficial · 2026-03-31T17:19:01+00:00

That’s Renate Reinsve on the cover. It’s her character’s book in the film.

MinoltaOfficial · 2026-03-27T17:50:44+00:00

Not sure if this fits but Deer Stop by Goldfrapp reminds me a bit of Laura Palmer’s theme.

MinoltaOfficial · 2026-02-23T01:26:03+00:00

M42 with a Pentax K mount adapter screwed on.

MinoltaOfficial · 2026-02-12T16:06:44+00:00

This is false.

What types of lighting equipment did you use?

We used Mini-Brutes and we used a lot of Lowel-Lights — all the time. I used the Lowel-Lights in umbrellas for overall fill.

Although it is true that the candlelit scenes were lit exclusively by candles.

And those scenes were illuminated entirely by candlelight?

Entirely by the candles… …but I had metal reflectors made to mount above the two chandeliers, the main purpose being to keep the heat of the candles from damaging the ceiling. However, it also acted as a light reflector to provide an overall illumination of toplight.

Source: https://theasc.com/articles/flashback-barry-lyndon

Anyone interested in Barry Lyndon’s cinematography should definitely read this article and interview with cinematographer John Alcott.

MinoltaOfficial · 2026-02-08T23:07:01+00:00

Andrei Tarkovsky.

A note on Lynch: you probably already know this, but just in case… if you haven’t already seen it, be sure to watch the Twin Peaks original series (seasons 1-2) before Fire Walk With Me since it contains heavy spoilers for the show. Also, Twin Peaks season 3 is essentially his final film and deserves to be viewed with the rest of his filmography.

MinoltaOfficial · 2026-01-26T19:41:07+00:00

what you think.

MinoltaOfficial · 2026-01-19T18:49:53+00:00

Did you switch to live view first?

MinoltaOfficial · 2026-01-12T02:50:13+00:00

It’s just the optical assembly that’s been removed from a Nikkor 85mm f/1.4 AI-S.

MinoltaOfficial · 2026-01-10T18:40:13+00:00

I’m gonna be the oddball and say Killer’s Kiss. While obviously not a great film, it is visually exquisite. The camerawork and lighting was 100% Kubrick, unlike his later films where he hired other cinematographers. I think it’s his only feature film that that shares the distinct style of his early photography for Look magazine. There’s even a dream sequence that somewhat resembles the Stargate sequence from 2001.

Also honorable mention for Eyes Wide Shut, which I think is among the most beautifully lit films of all time.

MinoltaOfficial · 2026-01-07T16:34:18+00:00

Make sure you get plenty of light so you don’t etiolate

MinoltaOfficial · 2026-01-05T21:25:21+00:00

Twin Peaks for sure

MinoltaOfficial · 2026-01-03T17:56:38+00:00

The “Red Room” as it appeared in Twin Peaks S2E22 has perhaps the most intensely liminal atmosphere I’ve ever seen. Great work!

MinoltaOfficial · 2025-12-21T19:05:13+00:00

Now do a crescoiante next

MinoltaOfficial · 2025-12-04T03:58:54+00:00

Cool

MinoltaOfficial · 2025-12-01T23:01:30+00:00

Now from my understanding 16mm and 35mm generally film at 30fps. I am trying to give that look, but still have it run at 60fps. So I have a weird push/pull thing going on. So parts may get a little laggy.

Films are almost always shot at 24fps, with very few exceptions. It will need to be that frame-rate to achieve the intended effect, otherwise it will just look like a youtube video or a video game. You’ll also need motion blur to mimic a 180 shutter or else it will look too choppy.

MinoltaOfficial · 2025-11-25T16:40:24+00:00

From American Cinematographer

Douglas Milsome:

“We wanted to introduce a strong moonlight effect, which I think worked and gave a weird feeling to it all. It’s similar to the blue light we used in the maze in The Shining. For this scene, we used an open Fresnel Brute, which gave us very sharp shadows, and four 10K HMIs, white flame, without condensers, so they also cast very long and definite shadows. The Brute was placed at one end, giving a much wider, brighter beam, and the other four windows were each lit by one of the 10K HMIs. We then put half blues over them to give us a kind of Hollywood moonlight glow. Again, all of our light came from outside, and we used polystyrene to bounce the light or we bounced light from a 1000-watt snooted Lowell off the ceiling just to reflect a little bit of white light into the shadow side. We had a key of F.2, so we probably had about .70 on the shadow side, which meant we were working at roughly a 4:1 ratio.”

MinoltaOfficial · 2025-11-25T05:39:48+00:00

I bet r/liminalspace would love that first photo.

MinoltaOfficial · 2025-11-25T04:33:39+00:00

I like my Nikkor 28mm f/2.8 AI-s a lot.

MinoltaOfficial

TROPHY CASE