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Manu Delpech

Member Since 07 Mar 2014
Offline Last Active Yesterday, 09:39 AM
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Posts I've Made

In Topic: Roma (Alfonso Cuaron)

Yesterday, 07:51 AM

Agreed on everything. That gorgeous oner on the beach: 

 

"Another complicated scene to shoot was the long take, using a horizontal camera move, when Cleo walks from a beach into the sea to save the children from drowning.

“The first challenge was to find an inland beach facing northwest in Tabasco where we were shooting,” explains Cuarón. “It also had to be a beach that had waves that were a specular and that was controllable in terms of people swimming. We had to build a pier so that the Technocrane would always be at the same level with the water and sand.

“The sweet spot for the light was 5:30pm to 6pm. I wanted to have six takes in the can before the sun disappeared to make sure that we had it. The day before we shot, there was a tropical storm that weakened the structure of the pier. The crane kept on derailing, not even reaching the moment where Cleo gets into the water. Rebuilding the pier and coming back again later was too expensive and unfeasible. We were able to achieve just one take. I said to my producers that I would have to live with the shot. I thought it was not so good. But, eventually, when I was in the cutting room I was like, ‘Wow. This is great!’”

https://britishcinem...so-cuaron-roma/

There's also an article in next month's AC magazine.

 

For the light, seemed to me like all available light really which seems to be what it was most of time they were outdoors really. The Alexa 65 shines on this, it wouldn't look nearly as good in color though. B&W can really make a lot of things that are boring in color really interesting. Not to deny the fact that Cuaron's work here is immaculate. Here's another conversation with Chivo:

 

https://www.indiewir...phy-1202028167/


In Topic: Roma (Alfonso Cuaron)

Yesterday, 05:54 AM

I think it's more ignorance. A lot of websites early on circulated the fact that it was shot on 65mm film because that's what most people (well, people who have some knowledge of film) associate 65mm with. Then, you had some people whining about a 65mm film being shown on Netflix. Then, I looked everywhere I could find info, landed on a rental website listing the film as using the Alexa 65 as main camera, then behind the scenes video where we clearly see an Alexa layout for playback, etc. Started correcting some articles stating otherwise. Then for a while, Netflix people were themselves saying "it was shot on 65mm", which is no big deal since many films are shot on the Alexa 65 these days.

 

Cuaron stated himself (there's a video on Arri Rental of him talking about it, others as well) that he shot this digitally on the Alexa 65 for a reason because he didn't want grain, he wanted it to be him in the present looking back at the past. But yet, he continues to tout the "shot on 65mm" bit (and asking for the film to be shown in 70mm shows that) and the ending credits stating this are very clear. A buddy of mine saw it in Rome, he's pretty much a nerd and he told me that the ending credits there did not have the "Shot entirely on 65mm" bit. 

 

 

Anyway, doesn't really matter. Do watch the film folks and if you find yourself initially being perhaps bored or wondering what the big deal is with this film, keep pushing, I felt the same way at first. 


In Topic: Super 16

13 December 2018 - 11:53 AM

Interesting comment from Manu Delpech, post #20 in 'S16 Anamorphic - On a budget', https://www.cinemato...ens#entry478978

 

"Anecdotal, but The Wall (Doug Liman) that takes place entirely in the Iraqi desert, entirely shot on super 16 anamorphic with the Hawk V-Lite 1.3x and the 50D stock looks good although it is very soft, I actually found it softer than The Wrestler, or the super 16 portion in Steve Jobs or some of the best super 16 footage out there with a 2:40 extraction. Close-ups can look surprisingly good, and the 50D (blown up on a big screen) yields minimal grain but some medium close-ups and the wides really look soft."

 

I haven't seen many S16 productions at the cinema, so will start doing it, and begin with 'The Old Man and the Gun'. Saw Mother last year for that reason but that was cropped spherical, was maybe just a bit too grainy I thought, and was almost entirely shot indoors. I'd like to compare results in the theater with the Hawk v-lite anamorphics. How do you keep track of all the latest cinema releases shot on S16 - is the best way to keep checking the Kodak site?

 

Mother looked kinda crappy imo. It depends really. Steve Jobs for example, the super 16 first act looks gorgeous, surprisingly "sharp". The Newsroom (Aaron Sorkin): Pilot on super 16, looks gorgeous. Jonah Hill's Mid90s looks beautiful too, etc.

 

The Kodak site is where it's at usually, sometimes, I just search all over the internet if I can find any kind of information on what format was used for said film or sometimes, you can just tell from the trailer. 

 

I'm surprised by Mark saying the Vision 3 stocks are so "clean" he had trouble telling Fallout was film. Fallout looks dirty as hell in IMAX, way dirtier than anamorphic 35mm looks like at its best (Ready Player One is a great example lately). I've seen some other DPs say this and I'm not seeing it. There are some rare films, especially lately, that look quite clean but overall, you can always tell when a film is shot on film unless you're sitting way back in the room.

 

Then yeah, if you sit way back, you're not going to be able to perceive any kind of texture anyway. But sitting reasonably close, that's where it shines imo. About Westworld, are you watching it on TV? Because on cases like this, I think the compression via broadcast is just so strong that the texture is messed with, it becomes quite clean although 50D was used a lot on the first season and that's 3 perf.

 

I personally love it when the stock is push processed, and they get that grain to pop. Linus Sandgren is a great example of a DP who shoots mostly on film between O.Russell and Chazelle and there's no way you'll mistake that for digital.

 

I had some test invoices done for a project of mine, to see the comparative costs between super 16 and 2 perf, and there's like a 2K difference in my case. 2 perf is the way to go, there's a major leap between 16 and 2 perf, and 2 perf has a lovely texture (Silver Linings Playbook, The Fighter, On The Road, most of First Man, American Hustle, I Tonya, etc)


In Topic: The Marvelous Mrs. Maisel

09 December 2018 - 05:06 AM

Congrats David, excellent work


In Topic: Kodak NYC Lab???

05 December 2018 - 06:52 AM

Considering Succession, A Quiet Place, The Post and The Irishman (among others) have used the NYC lab, i'm pretty sure the quality is top notch :D


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