Coming in at the number four position in the Warm & Natural set, our video app filter Vilmos is a Filmakr LUT-based filter named after Oscar-winning cinematographer Vilmos Zsigmond that brings magic hour to your iPhone video.
Video app filter Vilmos brings magic hour to your iPhone video
This video filter captures the final tones of magic hour, blending a humble peach color with a royal purple cast capturing the bold statement that day is done.
In film after film, Zsigmond’s cinematography has shown him to be a master at evoking the intended visual mood and ambiance of a given story. Along with his Hungarian blood brother renown director of photography László Kovacs Zsigmond often innovated leading the way for many young up-and-comers to expand the limits of creative cinematography. Indeed in large part helping to put the art of cinematography on the map for the everyday person. Zsigmond unquestionably can be classified as one of the finest cinematographers of the celluloid era of cinema. Because he approached his art with a perfect balance of authority, excellence and a strong sense of integrity, Vilmos Zsigmond’s images are some of the most enduring.
Zsigmond’s work extends to the rich, emotional texture on Robert Altman’s McCabe and Mrs. Miller (1971) — the inspiration for our McCabe filter. Images (1972) and The Long Goodbye (1973) which all brought public and critical acclaim. Quickly becoming one of the world’s most visible cinematographers, Zsigmond’s evocative look and “altering eye” found outlets in such masterpieces as John Boorman’s Deliverance (1972), Mark Rydell’s The Rose (1979), as well as in Richard Donner’s Maverick (1994), Sean Penn’s The Crossing Guard (1994) and Steven Hopkins’ The Ghost and the Darkness (1996). His long-overdue Academy Award came in 1977, with his powerful achievements on Steven Spielberg’s Close Encounters of the Third Kind. The following year found Zsigmond’s dark and disturbing work on Michael Cimino’s The Deer Hunter (1978) receiving an Oscar nomination, and another nomination appeared for the daring and powerful look he brought to Mark Rydell’s The River (1983).