Jump to content


Photo

Coco avant Chanel


  • Please log in to reply
4 replies to this topic

#1 Tebbe Schoeningh

Tebbe Schoeningh
  • Basic Members
  • PipPipPip
  • 117 posts
  • Cinematographer
  • Buenos Aires, Berlin

Posted 01 November 2009 - 02:12 AM

Hi,

is there anybody who´s got some technical specs about this movie? I´m especially interested in the lenses they used. Beautiful bokeh! ;)
  • 0

#2 Tebbe Schoeningh

Tebbe Schoeningh
  • Basic Members
  • PipPipPip
  • 117 posts
  • Cinematographer
  • Buenos Aires, Berlin

Posted 07 November 2009 - 08:40 PM

Hi,

is there anybody who´s got some technical specs about this movie? I´m especially interested in the lenses they used. Beautiful bokeh! ;)


nobody?
  • 0

#3 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 07 November 2009 - 09:44 PM

nobody?


I saw it, looked great -- clearly was shot in anamorphic to me, the IMDB says Panavision anamorphic. Can't tell you which lenses though but the general look reminded me of C-Series.
  • 0

#4 Tebbe Schoeningh

Tebbe Schoeningh
  • Basic Members
  • PipPipPip
  • 117 posts
  • Cinematographer
  • Buenos Aires, Berlin

Posted 09 November 2009 - 05:40 PM

I saw it, looked great -- clearly was shot in anamorphic to me, the IMDB says Panavision anamorphic. Can't tell you which lenses though but the general look reminded me of C-Series.


Thanks David,

I really can´t find any detailled information about the tech specs of this movie. What is it that makes you remind the C-Series?
  • 0

#5 David Mullen ASC

David Mullen ASC
  • Sustaining Members
  • 19759 posts
  • Cinematographer
  • Los Angeles

Posted 09 November 2009 - 05:56 PM

Thanks David,

I really can´t find any detailled information about the tech specs of this movie. What is it that makes you remind the C-Series?


Primo anamorphics tend to be cooler in terms of the lens flares, plus are too big & heavy for a lot of handheld and Steadicam work, and this movie seemed to have a bit of that. And it didn't have that Primo crispness. Of course, it could have been the new G-Series but I'm not sure if they were available when the movie was made, and it could have been the E-Series.

I also noticed some light diffusion like ProMist, Black Frost, or GlimmerGlass, etc.

It could have been shot on a mix of Panavision anamorphics, which is not unusual, C-Series for handheld and Steadicam, E-series or Primos for other shots, etc.

In terms of bokeh, any 2X anamorphic prime with front anamorphic elements has fairly stretched-looking bokeh when shot wider-open than T/4 but the C-Series in particular get a bit odd at T/2.8 because of the barrel distortion, fall-off, plus the anamorphic bokeh. The weirdest bokeh I ever got in a movie shoot was during a Steadicam shot on a 40mm C-Series anamorphic at T/2.8 while looking up at some out-of-focus tree canopy above the actor's head -- not only were the out-of-focus gaps between the leave shaped into an oval, but all around the edges, the ovals were bent into crescents due to the barrel distortion, plus there was noticeable fall-off, like a vignette.
  • 0


Tai Audio

Wooden Camera

CineTape

Technodolly

CineLab

Opal

Rig Wheels Passport

Aerial Filmworks

Broadcast Solutions Inc

Ritter Battery

Metropolis Post

Abel Cine

Paralinx LLC

Willys Widgets

FJS International, LLC

Media Blackout - Custom Cables and AKS

The Slider

Glidecam

Gamma Ray Digital Inc

Visual Products

rebotnix Technologies

Gamma Ray Digital Inc

Broadcast Solutions Inc

FJS International, LLC

Technodolly

Rig Wheels Passport

rebotnix Technologies

CineTape

Paralinx LLC

Wooden Camera

Glidecam

Media Blackout - Custom Cables and AKS

Metropolis Post

Ritter Battery

CineLab

Tai Audio

Abel Cine

The Slider

Opal

Visual Products

Willys Widgets

Aerial Filmworks