Download Film Hit The Spot

After watching the film a few times through, you should have an idea of the rough tempo required for each cue. Usually the best way to start is to just sit there and clap, or tap a tempo on the table. Go with your gut feeling. Fast tempos give forward momentum. They are great for building up tension, or moving a slow scene along. Slow tempos can have an effect of freezing time. They are particularly good at magnifying small elements on screen.

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This year, 10 international composers will participate in one-on-one meetings, designed to match them up with film projects (in development or in production) and create harmonious collaborations.

Yeah, better check prices and concentrate on a deal that already includes everything you want. Oddly, those Minolta spot meter attachments have been selling for around a hundred bucks on eBay when purchased alone - about as expensive as the meter itself. Might be time for me to divest!

Lomography's LomoChrome '92 is designed to mimic the look of classic drugstore film that used to fill family photo albums. As we discovered, to shoot with it is to embrace the unexpected, from strange color shifts to odd textures and oversized grain.

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I have been using a generic iPhone app as a way to meter my scene for my Bronica S2... I am thinking that a proper spot meter to get the best zone system numbers would probably not be a bad idea... but I don't really want to spend more on it than I did the camera.

It's bulky, uses a 9v PP3 (which doesn't last long) and there is no external display. You have to keep it held up to your eye to make changes to menus etc. Also it does not support incident measurements. I would go for a more up to date Sekonic that handles spot, incident and flash.

In practice the zone system doesn't work well with a roll film camera. Ideally you need to be able to develop each frame separately so that you can adjust development time according to the contrast. One solution is to carry more than one camera back and choose based on the subject brightness range. It's a lot of hassle and gear to lug around. Often, by the time you have carried out the spot measurements and worked out the exposure setting for the camera, the light has changed. Doh! One of the reasons people switched to digital.

There is also the Polaris Dual 5 light meter, which also has a 5 degree spot meter function. I picked one up yesterday for 70 dollars. It seems to be cheaper than other brands, I think. Maybe because of the 5 degrees and not lower?

If you have the dollars buy a Pentax Digital Spot Meter. Pretty much the Gold Standard for zone workers, especially with large format film. Can get one that has been modified per Zone VI that reads correctly directly through B&W filters - as red,green, yellow, etc. You do pay for them but they last and work well - and a zone VI sticker on them makes for easy use if you are a Zone System shooter.

I believe this is only going to work if all of the shots on the roll are basically the same scene. I don't really Zone either, but as I understand it, if you shoot two scenes on the same roll in similar lighting, one with a light subject and one with a dark subject, and use the zone system to set two different exposures, you are not going to get an optimal negative for both frames. You would have to customize the developing for each shot, and you can't really do that on roll film unless you cut it into multiple pieces and develop them seperately.

I recall photographers in the film era whose spot metered and swore they were using the zone system... then had everything developed by c-41, not realizing that the wild variation in their exposures was being covered by the latitude of the film and the printing process.

If you shoot two different subjects, one dark and one light, on the same roll of film, you can get proper negatives for both exposures using zone system. But you have to place both subjects in the "correct" zones (whatever "correct" means, that's somewhat subjective).

For instance, you could place the dark subject in zone IV and the light one in zone VI. And then develop the whole roll as usual (where development time would've been determined upfront when setting up the zone system for your film and equipment).

Another way to look at this is to assume the opposite is true and that development time depends on the subject and the scene. In such case, what would be a formula for the development time? Zone system is all about achieveing reproducible results and taking the guesswork out of the process. So there would need to be a very specific way of determining how much longer to develop one sheet of film compared to the other, based on the scene or a subject. I myself haven't seen anything like that.

The Hot Spot is a 1990 American neo-noir romantic thriller film[2] directed by Dennis Hopper, based on the 1953 novel Hell Hath No Fury by Charles Williams, who also co-wrote the screenplay. It stars Don Johnson, Virginia Madsen, and Jennifer Connelly, and features a score by Jack Nitzsche played by John Lee Hooker, Miles Davis, Taj Mahal, Roy Rogers, Tim Drummond, and drummer Earl Palmer.

Charles Williams wrote a screenplay version of his own novel with Nona Tyson in 1962.[5] It was intended for Robert Mitchum. Many years later, Dennis Hopper found the script and updated it.[5] The director described the film as "Last Tango in Texas. Real hot, steamy stuff".[6]

He wasn't that bad. He has a lot of people with him. He came on to this film with two bodyguards, a cook, a trainer, ah let's see, a helicopter pilot he comes to and from the set in a helicopter, very glamorous let's see, two drivers, a secretary, and, oh yes, his own hair person, his own make-up person, his own wardrobe person. So when he walks to the set he has five people with him.[8]

Hopper shot the film on location in Texas during what he described as the "hottest, steamiest weather you could imagine". The primary locations were in Taylor, Texas, especially its iconic downtown area,[11] locations around and in Austin as well as in Luling.[12] The swimming scenes were filmed at the Hamilton Pool Preserve west of Austin.[13] In part of the skinny-dipping scene, Madsen was body doubled by Heather Cruikshank, who was working in a strip club when she was cast.[14]

The Hot Spot had its world premiere at the 1990 Toronto International Film Festival.[15] Director Dennis Hopper felt that stars Don Johnson and Virginia Madsen were not as enthusiastic in promoting the film as he would have liked. Hopper said of Johnson that "He says he's not going to do anything for this picture until he reads the reviews."[16] Johnson claims that he was unable to do promotion because he was shooting the film Harley Davidson and the Marlboro Man with Mickey Rourke.[16] Of Madsen, Hopper claimed that she "was very embarrassed" by the amount of her on-screen nudity.[17] The film was released on October 12, 1990, in 23 theaters, grossing US$112,188 in its opening weekend. The film grossed only $1.2 million in the North American market, far less than the cost of its production.[18]

The Hot Spot received generally positive reviews from critics. Rotten Tomatoes gives it a 70% rating at based on reviews from 27 critics. Roger Ebert gave the film three out of four stars and wrote, "Only movie lovers who have marinated their imaginations in the great B movies from RKO and Republic will recognize The Hot Spot as a superior work in an old tradition."[19] In her review for The New York Times, Janet Maslin wrote, "Mr. Hopper's direction is tough and stylish, in effective contrast with the sunny look of Ueli Steiger's cinematography."[20] USA Today gave the film two-and-a-half stars out of four and wrote, "In other words, Hopper's direction isn't any great shakes, and the wrap-up is somewhat confusing, but this film does make you want to go skinny-dipping with someone else's mate."[21] In his review for The Washington Post, Desson Howe wrote, "Hot Spot will never go down as timeless, neoclassic noir. But, with its Hopperlike moments, over-the-top performances and infectious music, it carries you along for a spell."[22] Entertainment Weekly gave the film a "B" rating and Owen Gleiberman wrote, "Hopper still hasn't learned how to pace a movie, but working from Charles Williams' 1952 novel Hell Hath No Fury he comes up with a reasonably diverting hothouse yarn."[23]

On August 13, 2013, Shout! Factory released The Hot Spot on Blu-ray as part of a double feature along with Killing Me Softly.[24] Kino Lorber re-released the film on Blu-ray on May 4, 2021 in a new 2k master, containing new interviews with Virginia Madsen and William Sadler, and an audio commentary from entertainment journalist Bryan Reesman.[25] 2351a5e196