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Atash (thirst) Asaf Sudri's, I would like help in finding out how this look was created?


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#1 David Bid

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Posted 14 May 2007 - 10:42 AM

i watched ATASH (Thirst) and was completly blown away by the Cinematography, done by Asaf Sudri.


if anyone has seen it would they be able to help me out as to how that look was created?
what filters do you think were used, and do you think that there was any processing in the lab.
i have a feeling that bleach bypass was used? could anyone help?

i am a young cinematographer and have a up coming shoot, that is all day ext, and i will only be using natural light, it is set on the beach and i am looking to creat that high contast feel, looking to creat rich Blacks in the shadows.
i am guessing that Asaf Sudri used just natural light for the Day Ext, am i correct in thinking this?

i am currently planing to shoot on fuji 64D 16mm, and am planing to use a nd grad for the skys, and polarizer. As it is being shot in england on the south coast, i am hoping for a sunny day, and am looking into using a Straw or a chocolate as well,

Also i was planing to under expose the highlights by a stop, would this help to create richers shadows? as i will hopfully be shooting in direct sunlight. What could anyone recomend for an over cast day and still trying to create the contrast?
i would greatly apreciate anyones opinon

sorry about all the question feel free to pick and choose
best wishes Dave
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#2 Oron Cohen

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Posted 14 May 2007 - 01:17 PM

Hello,

My friend was the AC on this film so I know about the technical details:
Shot in super 35 on an ARRI 535 with ultra Primes lenses.
On the back of the lens sudri used a black net sock (hope I say it right), the day exterior was lit with a very powerful source of light: the sun.
The light in Israel is very hard and contrasty and sudry used it very well for my taste.
Just for you to know the budget on this film was around 400000$, so I think they really did a great job, the quality of cinematography on this film is very very good.
Also I remembered that the film scan was done on a shadow telecine not a spirit, and the print was done in an optical process from the super35 negative to achieve an anamorphic picture not a DI.

Hope its help,

Oron Cohen.
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#3 David Bid

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Posted 14 May 2007 - 03:49 PM

thank for you help on that, i was wondering if you or anyone else could go into futher detail,

a black net sock behind the lens, how does this help the look and would i be possible for myself shooting on a arri SR2 Super 16mm? would i be able to use a Black Pro mist instead?

also i am unclear as to what a 'film scan on shadow telecine not spirt'? is that softwear that can be used on a look that can be asked for? sorry if that is a silly question

and would you be able to go into what is ment by anamorphic not DI? do you mean that is clean and there is no DI?

thanks again
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#4 Joseph Winchester

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Posted 14 May 2007 - 07:55 PM

Shadow and Sprit are two kinds of telecine machines that scan the film frame-by-frame to edit on the computer. The nuances and goods/bads of each are well documented on this and other sites (search for each word).

Anamorphic is an optical way to squeeze a wider frame of view onto the film. It looks skinny when you see the negative but stretches back out when projected through an anamorphic lens. An optical process does this with the original negative and prints it to a positive. A DI is a way to do this digitally through the computer.

Hope that helps.

I'm not sure about the black sock trick and would love to hear more.
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#5 Oron Cohen

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Posted 15 May 2007 - 03:35 AM

hey,

If you want to know more about the use of nets and the differences between an optical blow-up from super35 to a DI process from super35 to achieve anamorphic picture I suggest that you do a search in the forum because it has been discussed by many that know how to explain this with much better English than mine.
And I also forgot to say that they use Kodak rather then Fuji in this film.


Oron.
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