expression of his nervous system, the artist, a student of rodchenko and favorsky, during the war, urusevsky a front-line cameraman . he took it to a new level. not only work with a handheld camera, but also to a large extent revived the picture, using the techniques of avant-garde cinema of the twenties, a unique work with a wide-angle lens, double exposure of light, makeup. and pictorial solving the scenes of boris's death and desperate flight. veronica distinguishes the cranes are flying from the film from that time, but both technical solutions and ingenuity were required. thursday on the waterfront for a long time, what are you? to shoot the rise of the characters batalov and samoilova up the stairs, a complex structure was developed that moved and rotated the camera after the characters, nineteen-year-old claude lilouch caught working on this scene and saw it. she decided to retrain from documentary filmmakers to feature film directors, but also more simple operator's decisions. until now, they are studying how to work on a film, such as the scene under the crimean bridge, so that the

during an excursion to mosfilm in 1956 , i saw work on a film by cameraman sergei urusevsky and immediatelymended the film for selection for the film festival. in cannes, in the same way, cinema stands apart in our camera work, just like mayakovsky. on the train, his hand-held camera. uh, he, uh, and before him, of course, a hand-held camera was used as a technique, but no one did it the way he did, neither before nor after it is absolutely an expression of his nervous system, an artist student of rodchenko and favorsky during the war years urusevsky was a front-line operator. he took it to a new level. not only work with a handheld camera, but also to a large extent revived the picture, using the techniques of avant-garde cinema of the twenties , a unique work with a wide-angle lens, double exposure, light makeup. and the pictorial solution of the scenes of boris's death and the desperate flight. veronica distinguishes the cranes are flying from the film from that time, but both technical solutions and ingenuity were required. on thursday on the embankment for a long time, well, to shoot t

during an excursion to mosfilm in 1956 , she saw the work on a film by cameraman sergei urusevsky and immediately recommended the film for selection for a film festival. in cannes, in the same way, cinema in our camera work stands apart, like mayakovsky in poetry, his hand-held camera, and before him, of course, was used. a manual camera, like a technique, here, since no one did it, not before not after it is absolutely, then is, an expression of his his nervous system. the artist , a student of rodchenko and favorsky, was a front-line operator during the war years. he took it to a new level. not only working with a handheld camera, but also to a large extent revived the picture, using the techniques of avant-garde cinema of the twenties . a unique work with a wide-angle lens, a double exposure of light make-up and a visual solution to the scenes of boris's death and desperate flight. veronica distinguishes the cranes are flying from the film of that time, but both technical solutions and ingenuity. on thursday on the embankment for a long time, well, to shoot the rise of the characte