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January 2014 - Blog

The Cinematography of The Ipcress File

On 29, Jan 2014 | 7 Comments | In Low Budget Filmmaking, Production | By vashi

In 1965, Sidney J. Furie directed the spy thriller The Ipcress File starring a young Michael Caine. Producer Harry Saltzman used the same core production team he employed on Dr. No (1962), From Russia with Love (1963) and Goldfinger (1964). Editor Peter Hunt, Production Designer Ken Adam and Composer John Barry gave this film a stylized, signature look and sound…one that was the antithesis of James Bond. Furie and Czechoslovakian cinematographer Otto Heller redefined their visual vocabulary by deciding to shoot as much of the film as possible through obstructions or foreground objects. They did this on 100 separate shots.


examples of the framing styles in The Ipcress File

The dazzling cinematography of Otto Heller


In the past, a large foreground object usually meant it was the focus of the scene.
Furie and Heller made every foreground object a ‘framing device’ that actively composed the shot. This technique was used to both reveal specific story elements on screen and also to visually express the claustrophobic and unsettling tone of the film. What could have been a gimmick (if used once or twice) instead became a creative cinematic tool that was used 100 times during the film.

In the video below, I have compiled all 100 instances where the “frame within the frame” technique is used in The Ipcress File. Some are subtle and some are audacious. This style was considered so arrogant by Billy Wilder that he famously said “Furie couldn’t shoot a scene without framing it through a fireplace or the back of a refrigerator”. I think it is stunning, refreshing and effective. Read more…

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Evolution of the Dolly Zoom

On 19, Jan 2014 | 29 Comments | In Low Budget Filmmaking, Production | By vashi

Vertigo Dolly Zoom

Cameraman Irmin Roberts invented the Dolly Zoom shot


The Dolly Zoom is a camera shot made famous in Alfred Hitchcock’s VERTIGO (1958). It was invented by cameraman Irmin Roberts to visually convey the feeling and effects of acrophobia by zooming in with the lens while simultaneously dollying the camera backwards…or vice versa. Since 1958 it has been used hundreds of times in motion pictures…sadly most of the time only as a trick shot. Filmmakers often use it because it looks cool, has direct cinema lineage to Hitchcock and they love to point out it’s in their film. Just because you can doesn’t mean you should. This post is about the WHY not the HOW.

The Dolly Zoom is only effective (and curiously invisible) when it visually amplifies the internal emotional mindset of a character’s critical story moment.

When Scottie (James Stewart) battles his fear of heights and looks down the staircase in Vertigo…the viewer sees a visual representation of his mental fragility and shares his POV. It’s unsettling, disturbing and true to the moment. Hitchcock uses it not as a gimmick shot…but as pure cinema. You FEEL what the character feels and understand how difficult it is for him to climb those stairs…all by proxy of a perfectly choreographed camera shot.

Read more…

ZOMBIE NIGHT: 2050 Davinci Resolve Shots

On 15, Jan 2014 | 2 Comments | In Color Grading, Low Budget Filmmaking | By vashi






2050 shots from Zombie Nights

I graded this film in 10 days on Davinci Resovle


Zombie Night is a horror film directed by John Gulager (Feast, Pirahana 3DD). It stars Anthony Michael Hall and Darryl Hannah as a couple who must survive as the undead roam wild through the streets of Los Angeles. I was the colorist on this film and I wanted to share all 2050 shots I graded chronologically.

All 17 images below can be clicked and viewed at full screen resolution.

By viewing all the shots in their natural story progression…you can visually digest the color palette and patterns used to carry the narrative to its ultimate resolution. Zombie Night was shot on RED cameras and I graded the 4K RAW files in Davinci Resolve. The entire color grade was completed in 10 days. In an upcoming blog…I will share my workflow and tips on how I efficiently managed and graded the 2050 shots below. With hard deadlines and no room for errors…it’s crucial to balance the creative and technical aspects equally. Read more…

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In Color Grading

By vashi

Davinci Resolve Lightbox #3

On 14, Jan 2014 | One Comment | In Color Grading | By vashi

Davinci Resolve Lightbox

Lightbox view of my grading work for ‘Android Cop’

Android Cop premieres on February 4, 2014.

Here are the 1573 shots I color graded using Davinci Resolve 10.

Until next time…


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ARGO – The Real Spy Documents

On 06, Jan 2014 | No Comments | In Low Budget Filmmaking, Photography | By vashi

ARGO won the 2013 Academy Awards for Best Picture, Best Writing and Best Editing. The film details the rescue of 6 U.S. diplomats from Tehran in 1979. The CIA created a fake movie production based in Los Angeles and sent CIA agent Tony Mendez into Iran with fake scripts, storyboards and paperwork.

Here are some of the actual documents used in the rescue operation
that was run by the CIA under their “Studio 6 Productions”.


Studio 6 introduction letter

The fake introduction letter from Studio 6

Read more…

VashiVisuals’ Top 6 Blog Posts of 2013

On 03, Jan 2014 | One Comment | In Low Budget Filmmaking, Production | By vashi

6 most popular posts of 2013 on VashiVisuals Blog

VashiVisuals launched in January 2013 and to celebrate our first anniversary…I wanted to share the 6 most popular posts of the last year. The 6 posts are a combination of tutorials, free assets, film history and videos calculated by total pageviews from the 70 posts I cranked out in 2013. These VashiVisuals posts were picked up and featured on: PetaPixel, Indiewire, Gizmodo, Devour, Slate, OpenCulture, NoFilmSchool, BusinessInsider, FilmmakerIQ and other amazing websites. Have fun exploring these posts and get ready for even more awesomeness in 2014!

Read more…

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In Production

By vashi

A Beautiful Man: In Memory of James Avery

On 01, Jan 2014 | No Comments | In Production | By vashi

James Avery has passed away. I had the honor of working with the Gentle Giant on a feature film I produced, shot and edited. The director Jhon Doria got James for 2 shooting days, but his role and scenes were critical to the story. James was the consummate professional, physically imposing (6 foot 5 inches) and the owner of a booming laugh that erupted frequently between takes. It was during these breaks in shooting that he regaled us with tales of his 4-year stint in the US Navy during the Vietnam War and for his love of Shakespeare and poetry. Warmth and kindness radiated out from him in waves. Even whilst confined to a wheelchair for his role…he owned the set and our hearts.

James Avery still from 'The Grind'

James Avery in ‘The Grind’

On the last day of shooting, out of nowhere, James launched into ‘The Merchant of Venice’ and became the Prince of Morocco. I was luckily rolling camera and captured an intimate moment – a moment I have not shared with anyone. Now seems like the best time to share it and show a side of James Avery you might not have been familiar with. He was a classically trained actor and a member of the Oregon Shakespeare Festival. Read more…

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