Jump to content


Photo

Tree of Life


  • Please log in to reply
10 replies to this topic

#1 Mikael Sonnichsen

Mikael Sonnichsen

    New

  • Basic Members
  • Pip
  • 4 posts
  • Student

Posted 01 April 2008 - 03:38 AM

Any ideas, or factual information on whether Terrence Malick's upcoming 'Tree of Life' will be filmed in 35mm(anamorphic, or whatever), 65mm or even digital?

Filming began late February around Austin, TX with Emanuel Lubezki listed as DP, resuming his collaboration with Mr Malick in the wake of 'The New World.'

I'm aware 65mm is hardly ever used in feature films anymore, the last time this occurred being in Mr Malick's 'The New World.' Though none of the larger format portions were to be found in theatrical rendering of World(most of it was shot on 35mm, with a few scenes ending up in 65mm), it does reveal the directors love for 65mm(or: what follows using it). In fact, I'm told he intended the whole movie to be shot this way, were it not deemed too expensive.

I'd somehow regard digital filming in 'Tree of Life' less likely than film, based on my impressions thus far. Any thoughts on this are welcome...

Attached Images

  • days_of_heavenPDVD_00601.jpg

  • 0

#2 Tom Lowe

Tom Lowe
  • Basic Members
  • PipPipPipPip
  • 1211 posts
  • Director
  • somewhere worshipping Terrence Malick

Posted 01 April 2008 - 10:53 AM

I'd love to know the answer to this as well. Maybe someone at a camera house could give us a tip? :)

BTW, the picture has been described as a 1950s period piece, but one blog mentioned something about it having to do with "aliens."
  • 0

#3 John Holland

John Holland
  • Basic Members
  • PipPipPipPip
  • 2248 posts
  • Cinematographer
  • London England

Posted 01 April 2008 - 11:37 AM

I would really love this film to be shot in 65mm but i doubt it is . Problem is there are hardly any cinemas left that can show 70mm prints . So think it isnt happening :(
  • 0

#4 Ignacio Aguilar

Ignacio Aguilar
  • Basic Members
  • PipPipPipPip
  • 398 posts
  • Cinematographer
  • Madrid, Spain

Posted 01 April 2008 - 02:08 PM

There's also some buzz about Scorsese's "Shutter Island" being shot in 65mm by Robert Richardson.

I wish Malick and Lubezki would try 65mm for the whole film, but it may be too expensive and problematic for a director who likes to shoot millions of feet for each project. Thus, 35mm anamorphic or Super 35 are more likely to be used for principal photography. But any news regarding 65mm for "Tree Of Life" would be great news. As 4K digital projection and IMAX DMR presentations became more common, I think 65mm acquisition makes more sense than ever.
  • 0

#5 Tom Lowe

Tom Lowe
  • Basic Members
  • PipPipPipPip
  • 1211 posts
  • Director
  • somewhere worshipping Terrence Malick

Posted 01 April 2008 - 06:04 PM

On the one hand, IMAX is kind of eating 65mm's lunch as THE high-end, ultra-res format, but on the other hand, as you suggested, a DMR from an entire movie shot on 65mm might be fantastic. I'm still baffled as to why Nolan did not use 65mm as his "base" resolution for Dark Knight, rather than 35, since it will be playing on IMAXs screens. You cannot tell me that Nolan's production could not "afford" 65mm. The cost of film and labs, etc, is a drop in the bucket compared to the overall budget on these mega super hero movies.

If a major director on a major project really wanted to shoot 65mm, they could do it. It's a matter of will.
  • 0

#6 Freya Black

Freya Black
  • Basic Members
  • PipPipPipPip
  • 4161 posts
  • Other
  • Went over the edge... Central Europe

Posted 01 April 2008 - 07:13 PM

On the one hand, IMAX is kind of eating 65mm's lunch as THE high-end, ultra-res format, but on the other hand, as you suggested, a DMR from an entire movie shot on 65mm might be fantastic. I'm still baffled as to why Nolan did not use 65mm as his "base" resolution for Dark Knight, rather than 35, since it will be playing on IMAXs screens. You cannot tell me that Nolan's production could not "afford" 65mm. The cost of film and labs, etc, is a drop in the bucket compared to the overall budget on these mega super hero movies.

If a major director on a major project really wanted to shoot 65mm, they could do it. It's a matter of will.


I really agree with you Tom, which is funny because I'm usually against all this obsession with resolution, especially for small indies where it's just going to cause you more headaches and problems you can't afford but I think the Dark Knight thing would be perfect for shooting on 65mm.

The thing is that Dark Knight is largely shot on a huge set in an old zepplin hanger to the best of my knowledge. I really believe that set will be built to extremely high standards anyway and will easily stand up to the task of shooting in 65mm. In addition being in a set means that mostly the huge size of the 65mm cameras wouldn't be so serious a problem as they would mostly just have to travel around the set. They could shoot in 35mm where it was a problem too. It seems theres few films that are so ideally suited to shooting in 65mm that that one.

Shooting in 65mm would if nothing else be a good way of future proofing things and being sure that you had the highest quality possible.

love

Freya

P.S. Ah, hang on tho, what about depth of field! I guess the focus puller might have a hard time in 65mm on Batman begins.

Edited by Freya Black, 01 April 2008 - 07:15 PM.

  • 0

#7 Vincent Sweeney

Vincent Sweeney
  • Sustaining Members
  • 686 posts
  • Director
  • LA at the moment.

Posted 01 April 2008 - 11:24 PM

I'd somehow regard digital filming in 'Tree of Life' less likely than film, based on my impressions thus far. Any thoughts on this are welcome...


I think it's clear why a film by artists like those involved in this project would not shoot it digitally. Film is the highest quality recording medium for movies and will be for a long time. When you care about the work you are doing, like they do, and have the level of resources these guys have available, to use anything other than 35 or 65mm film would not even come up in a conversation. Malick has even been seen with a S16 Minima catching shots personally when something happens he wants to get.

I think that decisions made in using 35 or 65 are not always based on money like that is suggested so often. Logistics are certainly some part of it but in the case of a film like The New World, it may have had more to do with creating a different feeling in the shots that it was used for.

One benefit of shooting with 65mm film is being able to increase the effect of wider shots which of course use wide angle lenses. Focus is thus less of a problem and in the case of the Dark Knight, I doubt lighting to a good stop to increase DOF if needed would be a big issue.

It's interesting to consider Roger Deakin's view who prefers to shoot S35 because he usually considers anamorphic 35mm to be too clean and grainless.
  • 0

#8 Tom Lowe

Tom Lowe
  • Basic Members
  • PipPipPipPip
  • 1211 posts
  • Director
  • somewhere worshipping Terrence Malick

Posted 02 April 2008 - 01:20 AM

Yes, and keep in mind that for The New World, they used mainly handheld and steadicam (and that handheld rig thingy of Lubezki's), which would have been very difficult with 65mm.

Edited by Tom Lowe, 02 April 2008 - 01:21 AM.

  • 0

#9 Max Jacoby

Max Jacoby
  • Sustaining Members
  • 2955 posts
  • Other

Posted 12 April 2008 - 12:11 PM

According to the latest ArriNews they are shooting spherical 4perf on Arricam and Master Primes.
  • 0

#10 Jess Haas

Jess Haas
  • Basic Members
  • PipPipPip
  • 139 posts
  • Cinematographer
  • Santa Monica, Ca

Posted 15 June 2008 - 02:07 PM

There was talk around town before the shoot started of them using the RED, and I know they did some tests but as stated here they ultimately decided to shoot on 35. I know they shot some underwater stuff and I believe they used 235s for it with Hydroflex underwater housings and splash bags.

~Jess
  • 0

#11 Vincent Sweeney

Vincent Sweeney
  • Sustaining Members
  • 686 posts
  • Director
  • LA at the moment.

Posted 15 June 2008 - 06:27 PM

There was talk around town before the shoot started of them using the RED, and I know they did some tests but as stated here they ultimately decided to shoot on 35.


I bet if there was any of that kind of talk it was from everyone except those involved in actually shooting and producing the film.
  • 0


The Slider

Willys Widgets

Visual Products

Metropolis Post

Tai Audio

Broadcast Solutions Inc

Technodolly

Aerial Filmworks

Paralinx LLC

Ritter Battery

Media Blackout - Custom Cables and AKS

Rig Wheels Passport

FJS International, LLC

CineTape

Wooden Camera

Abel Cine

CineLab

rebotnix Technologies

Gamma Ray Digital Inc

Opal

Glidecam

Rig Wheels Passport

Visual Products

CineTape

Technodolly

Abel Cine

Paralinx LLC

Ritter Battery

Metropolis Post

Tai Audio

The Slider

Opal

CineLab

FJS International, LLC

Wooden Camera

Willys Widgets

Glidecam

rebotnix Technologies

Broadcast Solutions Inc

Gamma Ray Digital Inc

Aerial Filmworks

Media Blackout - Custom Cables and AKS