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"Becoming Jane"


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#1 Jonathan Bowerbank

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Posted 19 August 2007 - 01:19 AM

My wife didn't exactly drag me out to this one, but I'll admit I had my reservations about it. Mainly story wise, I was pretty sure most of it was fiction. But I figured I'd give it a chance.

Lighting wise, it was well done I thought. It seems Eigil Bryld really had fun in doing everything that could be done in a period film. Natural lighting from large windows, lamps and candlelight and what not. But I have to say, the handheld camera work got a little old over time. Especially since they were working with some long lenses and I lost count of how many times the image was soft. There was even one locked off rack from a dinner table to the outside of a rainy window where the AC racked out to the window, missed and subtly inched back a bit. Even some wide shots were completely out of focus at points, and I couldn't see the reason why any would have been intentional.

The performances were fine, nobody really had to stretch too far, and Hathaway's accent was passable. But after seeing this, "The Last King of Scotland" and "Rory O'Shea" this past year, I've become a fan of James McAvoy's work. He's one of those guys who's on the verge of greater success in my book.
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#2 Stephen Murphy

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Posted 19 August 2007 - 04:08 AM

But I have to say, the handheld camera work got a little old over time. Especially since they were working with some long lenses and I lost count of how many times the image was soft.


Most of that was intentional. We (the operators) were constantly being asked to rough up the framing and make it imperfect, steadicam as handheld, handheld as a dolly etc; it was an interesting experience, and not having seen the finished film im not sure how well it worked. The director specifically wanted to work with longer lenses and Eigil shot a lot of the movie at T1.3 on the Master Primes. It was very difficult for the Focus Pullers but the "A" Camera /steadicam Focus Puller is one of the best in the business so if its soft on screen chances are it was ment to be soft. I certainly dont remember any focus problems in dailies, and we had print dailies. There was talk of a 2K DI during the shoot so it is possible that some softness was introduced at that point.
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#3 Jonathan Bowerbank

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Posted 19 August 2007 - 04:20 PM

Very interesting Stephen, thanks! I mean, it happened SO often, I figured it was intentional on some level. It was probably overdone though, even my wife noticed, and she's basically the target demographic for this film, ha ha!

I think it was the soft "locked off" wide shots that were the main ones I had issues with. It just didn't feel natural to me.

Thanks for the insight though! The film will probably come up in some conversations with fellow operator friends.
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#4 Stephen Murphy

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Posted 20 August 2007 - 02:37 AM

I mentioned this to my girlfriend last night, she was one of the 2nd AC's on the movie, and she said that the print she saw at the cast and crew looked similar to what you described. As i said i dont recall any conversations about it on set or in dailies but i havent yet seen the final result.
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Opal

CineLab

Abel Cine

Gamma Ray Digital Inc

Wooden Camera

Metropolis Post

Aerial Filmworks