Addy Khan

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Addy Khan

Addy Khan

@addymakes

Founder of Xperiment Media. Creative Director & Cinematographer https://t.co/5bxlPxdZol. Advancing tech and business in US, Europe, Dubai, Asia. HEC Paris alum. Catholic.

Dubai, UAE 🇦🇪 Katılım Ocak 2010
515 Takip Edilen718 Takipçiler
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Addy Khan
Addy Khan@addymakes·
Big news! I talked to Stephen Pizzello. It’s confirmed. His book “Gordon Willis on Cinematography” is coming out later this year or in 2027. Soderbergh read a digital galley proof.
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Addy Khan@addymakes

When Gordon Willis died, I was depressed for a full week. A Hollywood Reporter obit mentioned Stephen Pizzello from @AmericanCine was working on a book. That was May 2014. 11 years on, Soderbergh’s Oct 31 diary entry hints it might finally be out? Must investigate…

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Addy Khan
Addy Khan@addymakes·
@JohnnyFocal Yes, strange omission. I really like the muscular aesthetic of STORMY MONDAY. Young Deakins had a terrible time on AIR AMERICA - it almost made him quit cinematography. But I am not aware of any problems on the Figgis films…
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Jon Thompson
Jon Thompson@JohnnyFocal·
One thing your review misses: Deakins seems to have rewritten his own history. Mike Figgis is effectively erased from the book — despite The House for Channel 4 and Stormy Monday being instrumental in getting him onto the ladder. Stormy Monday in particular put him in the frame with major talent like Tommy Lee Jones and Melanie Griffith. The omission is fascinating. @TheMikeFiggis
blauereiter@blauereiter

'Reflections On Cinematography' by Roger Deakins is an in-depth dive into the luminary work of the 2 time Academy award winner, packed full of storyboards, sketches & diagrams. 416 pages, hardcover. A must read for film-lovers. Explore more in my review; link in comments below 👇

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Addy Khan
Addy Khan@addymakes·
Translation: the final look of AHU vs Remjet stock is “identical” - *if* the lab processes them correctly. Both are designed to be anti-halation (against bright light sources). HOWEVER, unprocessed, AHU has a dark brown bias, while Remjet is matte black. Maybe Nolan/Hoyte (ODYSSEY) and Villeneuve/Sandgren (DUNE3) will lean into that…
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DuneInfo
DuneInfo@DuneInfo·
Some technical #DunePartThree news for camera fans🎥🎞 According to American Cinematographer, DP Linus Sandgren shot some sequences on 15-perf IMAX & 5-perf 65mm, and used Kodak's new AHU film stock, where as Nolan's "The Odyssey" shot on the older Remjet stock.
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Addy Khan
Addy Khan@addymakes·
Fair point. 24p with a ~180° shutter creates that classic, “familiar” motion blur that we love in films. Everything moves in a softer, impressionistic way. Crank it to 60 fps and it’s suddenly live news, security footage or daytime soap. Too crisp, too "real”. I think it’s now less about biology and more about cultural memory. But YouTube and gaming is changing that…
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John Carmack
John Carmack@ID_AA_Carmack·
Is there any good reason for cameras to ever suggest 24 fps video? I tend to think that is almost always a poor choice, and users should have to go out of their way to select it. If you are recording something that will be cut into an actual shown-in-a-theater movie, then yes, you need to shoot at 24 fps to match film standards, but nearly all video is actually going to be shown by YouTube and social media on 60 fps displays. 24 fps guarantees not just a low framerate, but an uneven one, as frames get presented in a 3/2 repeated cadence (or worse, a 4/2/2/2 repeat if it gets converted to 30 fps video somewhere along the way). 120 fps displays can show 24 fps video at a constant repeat rate of 5, but I would wager that less than 10% of the video seconds today are in software and hardware properly configured to do that, and you would still be better off with 30 (or 60) fps video. There was a period where some video encoders or decoders could only just barely do 4k at 24 fps and couldn’t manage 30, but I don’t think that is common today.
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Addy Khan
Addy Khan@addymakes·
@M_Sawce Spielberg doesn’t have a style. But Janusz Kaminski does.
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Mike_Sauce
Mike_Sauce@M_Sawce·
Steven "I don't have a style" Spielberg. Ok.
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Addy Khan
Addy Khan@addymakes·
Respect this contrarian position. I've met Mr. Janusz Kaminski, and let's just say he's an...interesting character. Does his own thing, is relentless about lighting. The current YT/Twitter discourse is mainly about lighting, but a cinematographer is also responsible for format, lens choice, framing and movement. It's not just flares and contrast ratios, you know... To be fair, DISCLOSURE DAY visuals feel processed and overcooked, plus the stag CG is kinda hokey.
Jim Maxwell@1jcmaxwell

Never been a fan of cinematographer Janusz Kamiński - his visuals kind of give me a headache. If I compare modern Spielberg to Nolan and Villeneuve...I don't know, this new trailer gives me the ick.

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Addy Khan
Addy Khan@addymakes·
@JosephKahn Good tweet, dude. I like this version of you.
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Joseph Kahn
Joseph Kahn@JosephKahn·
Here's the thematic flowchart for the LA Crime Trilogy: CHINATOWN: Los Angeles is built on lies. Corruption is incestuously locked into its foundation. LA CONFIDENTIAL: Los Angeles is now a city trying to hold its own fragile myths together. The civilized illusion is only held together by primal violence. HEAT: Los Angeles in its final form. Moral ambivalence where criminality and justice are constructs. Each man builds his own code, mistaking it for free will inside a city with no memory.
Joseph Kahn@JosephKahn

This is the Los Angeles crime trilogy. Chinatown/LA Confidential/Heat. They all take place in the same cinematic universe.

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cinesthetic.
cinesthetic.@TheCinesthetic·
Sequels that start immediately where the first movie ends?
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Addy Khan
Addy Khan@addymakes·
@ludoviciochem Great work, Ludo! Crazy that the camera op also jumped with the stuntman! No cable-cam, crane or drone. BOURNE movies are elite. They just don’t make it like ‘em anymore! BTS footage below 👇 youtu.be/hZEJROSjCgs
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Addy Khan
Addy Khan@addymakes·
Saw PTA's ONE BATTLE AFTER ANOTHER again, at home. 4K UHD, OLED, Atmos. It's not a great film. It's a film with great scenes.
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Addy Khan
Addy Khan@addymakes·
Can you spend a day without going online?
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signüll
signüll@signulll·
most influencer content today is pretty much fiction. it’s either: - soft ads (shilling for a brand without disclosing) - or a character arc they’re trapped in because that’s what made them famous the story becomes the product & any deviation breaks the feed. e.g. there is a girl who built a whole brand around being single, dating & hating men, only for it to come out later that she’s been married the entire time. she never disclosed it. never broke character. & she trained all of her followers with this narrative that they believe to be completely real. now imagine this happening at scale as everyone tries to be an influencer? what a time to be alive.
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Addy Khan
Addy Khan@addymakes·
@cronenbabe You’ll have better luck with supermarkets. Or a church. Love PCC London.
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Addy Khan
Addy Khan@addymakes·
@JoachimSchulz @grok “Absolutely.” A very erudite, cogent, totally assured prediction by a bot. Your question is wise, the answer not.
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Joachim Schulz
Joachim Schulz@JoachimSchulz·
If X spent 1 million per AI movie director, it could have 1000 movies for $1 billion. Is that a future we are heading to? @grok
Grok@grok

@JoachimSchulz In 2025, Netflix spent about $18 billion on content. Disney spent around $23 billion in its fiscal year 2025 (ending Sept. 2025).

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Addy Khan
Addy Khan@addymakes·
@vikare06 These influencers/cretins are playing on fear and also, maybe, English is not their first or strongest language. So they go with trendy words like “cooked” or “banger” to grab eyeballs. To your point, genAI is being sold as a great disruptor and innovation. Hardly any is true.
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VIKARE
VIKARE@vikare06·
Why is it that with every AI video advancement we also get told "we are cooked"? Doesn't that imply bad thing is going to happen?
Dorksense@Dork_sense

Seedance 2.0 from China will be the SOTA This is AI We are cooked. • Native multi-shot storytelling from a single prompt (no more stitching scenes) • Phoneme-level lip-sync in 8+ languages • 30% faster generation than v1 via RayFlow optimization • 1080p cinematic quality, maintains motion consistency across shots • Audio-video joint generation = no separate audio pipeline • Multi-shot coherence = you could generate a full short film scene in one prompt

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Ludo Iochem
Ludo Iochem@ludoviciochem·
This shot from Bourne Ultimatum (2007) is still one of my favorite MattePainting in the list of shots I’ve been lucky to work on. The jump is real, but we’ve extended the facade, created the interior of the flat, put a CG window, CG glass and added CG shutters. This shot was a great team work from 3D, FX and DMP. #vfx #story
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Addy Khan
Addy Khan@addymakes·
@bodegaboxoffice Any idea if Mark Isham’s beautiful, minimalist score will ever come out? An 8-minute suite on his SoundCloud is the only tidbit we have, for now…
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Bodega Bone Thugs Office
Bodega Bone Thugs Office@bodegaboxoffice·
I loved SPARTAN so much I started a store for shirts with niche film references. More to come. Get your SET YOUR MOTHERFUCKER TO RECEIVE shirt here. Portion of proceeds going to mutual aid in Minneapolis. shirtsthatdontexist.com
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Keşfet

@JohnnyFocal @TheMikeFiggis @M_Sawce @extratv @ReelSchool @THR @nypost @Variety