Jump to content


Photo

Ocean's 13


  • Please log in to reply
9 replies to this topic

#1 Luc Allein

Luc Allein
  • Basic Members
  • PipPip
  • 61 posts
  • 2nd Assistant Camera
  • Los Angeles

Posted 12 June 2007 - 10:41 AM

I went to see this the other night. I'm a huge, huge Soderbergh fan (and even more so a 'Peter Andrews' fan). I love Oceans 11, I walked out of Ocean's 12. I heard this one was ok, so I figured...what the hell.

Lots of plot, not much character development. Better than 2, but not near as good as the first. But holy crap, this one blew the other two away by a mile. It was goddamn delicious to look at. It was like visual candy! After a while I could care less about the story, I just enjoyed looking at it. His use of color, his framing, his editing, everything. It just jumped off the screen. You could freeze every frame and hang it on a wall in night club or something.

I know Soderbergh uses some different and weird stocks of film to achieve some cool effects in his movies, and some of the scenes in this were totally crazy looking. Like some had very desaturated areas of color while other colors would would be highly enhanced, giving a very unique look. (Which always underscored the tone or the feeling of the scene) I was wondering about these different stocks here, if he'd used them. The nice thing about working at Panavision is that I ran into the loader about 7 hours after seeing it in the breakfast line. I was like "What the hell kind of film did he use?" It turned out it was your standard 5218 and he did all the splashy colors and stuff in the DI. He really tuned the poop out of it, it looks so good.

I know a lot of people say "Yeah, that's easy to do, nothing special, all flashy and slick..." Probably. But I'm a sucker for it, and it dont get much better than this movie. That guy knows how to make someone look cool on film. I recommend seeing in a theater before it's gone.

(BTW, he's shooting his new Che Guevera movie in 16mm with anamorphic lenses, should look pretty wild. I think its the last project Dan Sasaki worked on before leaving Panavision.)

Edited by Luc Allein, 12 June 2007 - 10:43 AM.

  • 0

#2 Brad Grimmett

Brad Grimmett
  • Sustaining Members
  • 2660 posts
  • Steadicam Operator
  • Los Angeles

Posted 12 June 2007 - 06:13 PM

Luc,
Could you change your font back to normal? It's a bit jarring.
No comments on 13 from me. I haven't seen it yet.
  • 0

#3 Ernie Zahn

Ernie Zahn
  • Basic Members
  • PipPipPip
  • 180 posts
  • Director
  • Greenwich, CT

Posted 23 June 2007 - 08:34 AM

Yeah, the plot was not fantastic and the characters were well established so this was almost like an episode from a TV show in the sense that all context was provided in the previous films. But I did enjoy looking at it. I found, that it helped to enjoy cinematogrphy to get thru ocean's 12 too.
  • 0

#4 Adam Thompson

Adam Thompson
  • Sustaining Members
  • 161 posts
  • Cinematographer

Posted 23 June 2007 - 01:13 PM

Bad thing about him is that I don't think his crew (gaffers) get the credit they should. I'm sure they are quite responsible for the looks.

How do you know he's shooting on anamorphic 16mm? Sounds interesting!
  • 0

#5 Xavier Plaza

Xavier Plaza
  • Basic Members
  • PipPipPipPip
  • 288 posts
  • Cinematographer
  • Guayaquil - Ecuador

Posted 14 August 2007 - 11:21 PM

Hey guys today i saw the movie and agree with you totally blow away. This guy have a lot of talent, just two thing:

First at IMB the credit DP appears as himself, is totally true...???
And the second what a great sequence when the camera see 5 characters (traveling zoom in & out) in the casino i guess in the middle of the movie, wow it was awesome, i think Brad could comment about that movement, any way i like it ...
  • 0

#6 Michael Most

Michael Most
  • Basic Members
  • PipPipPipPip
  • 765 posts
  • Other

Posted 15 August 2007 - 09:15 AM

BTW, he's shooting his new Che Guevera movie in 16mm with anamorphic lenses, should look pretty wild. I think its the last project Dan Sasaki worked on before leaving Panavision.)


According to what I've been told, this isn't the case. He's using prototype Red cameras for the Che Guevara project.
  • 0

#7 Mike Panczenko

Mike Panczenko
  • Basic Members
  • PipPipPipPip
  • 324 posts
  • 2nd Assistant Camera
  • Philadelphia, USA

Posted 15 August 2007 - 10:11 AM

According to what I've been told, this isn't the case. He's using prototype Red cameras for the Che Guevara project.


I've heard that they shot some very early scenes in NY back in 06, and I believe those were Super 16. But, yes, I've heard the rest of the movie is RED.
  • 0

#8 Tony Brown

Tony Brown
  • Sustaining Members
  • 689 posts
  • Cinematographer
  • London

Posted 25 September 2008 - 03:18 PM

Oceans 13 is one of the most poorly photographed films I've seen.

Appalling
  • 0

#9 Arni Heimir

Arni Heimir
  • Basic Members
  • PipPipPipPip
  • 326 posts
  • Other
  • Reykjavik/Barcelona

Posted 25 September 2008 - 05:12 PM

Oceans 13 is one of the most poorly photographed films I've srrn

Appalling


Not one of my favorite films. But I wouldn't go as far as the above statement. I kind of liked the Casino lighting in that film.
  • 0

#10 Trevor Masid

Trevor Masid
  • Basic Members
  • PipPip
  • 27 posts
  • Cinematographer

Posted 10 November 2008 - 03:48 PM

Oceans 13 is one of the most poorly photographed films I've seen.

Appalling



Agreed. The skin tones alone are enough to make me wanna turn it off, even though I truly enjoyed the movie, everyone is so disgustingly orange, it makes everyone look horrible.
  • 0


Willys Widgets

Broadcast Solutions Inc

Tai Audio

Wooden Camera

Aerial Filmworks

FJS International, LLC

Technodolly

Opal

CineTape

Visual Products

Metropolis Post

The Slider

rebotnix Technologies

Ritter Battery

CineLab

Rig Wheels Passport

Glidecam

Media Blackout - Custom Cables and AKS

Gamma Ray Digital Inc

Paralinx LLC

Abel Cine

Aerial Filmworks

rebotnix Technologies

Paralinx LLC

FJS International, LLC

Gamma Ray Digital Inc

Wooden Camera

Opal

CineLab

CineTape

Rig Wheels Passport

Abel Cine

Willys Widgets

Tai Audio

Media Blackout - Custom Cables and AKS

Technodolly

Ritter Battery

Broadcast Solutions Inc

Glidecam

The Slider

Metropolis Post

Visual Products