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Interview with Martin Ruhe


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#1 Gautam Valluri

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Posted 13 October 2010 - 01:23 PM

Hi Everyone,

Here is a link to a short interview I did with Martin Ruhe,

http://www.brokenpro...ordpress/?p=206

Enjoy the read.

Best,
G.
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#2 georg lamshöft

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Posted 14 October 2010 - 05:31 AM

Thank you very much!

It's nice to see a German involved in good looking cinema. They had to shoot a Michael Caine-Movie on a F35 (who much does a working set cost? 3000€/day?) for budget-resons? Congrats to "the American" - interesting film, very classy look and style and yes, it is clearly technical superior to "the social network" - why does Fincher compromise his work for no reason?
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#3 Gautam Valluri

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Posted 14 October 2010 - 11:08 PM

I think its appropriate that Fincher shot 'The Social Network' on digital because it deals with a subject matter like 'Facebook' which is an artifact of the digital world.

That's just my view on things.
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#4 georg lamshöft

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Posted 15 October 2010 - 02:20 AM

Interesting thought but what are his excuses for Zodiac and Benjamin Button? After paying 8€ for a mushy, artificial looking digital projection of "the social network" (and similiar disappointments with his previous films) I will rather watch his future work on TV - adequate to it's technical quality. I hope that Mr. Ruhe gets the chance to further work with higher standards in international cinema.

P.S. Isn't it ironic that people like Mr. Fincher or Mann use cheap digital aquisition while they would get paid even 65mm and people like Mr. Ruhe have to work with digital cameras because a producer tells them film is too expensive? How did this happen? Does it have to happen?
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#5 Ben Brahem Ziryab

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Posted 15 October 2010 - 12:25 PM

I was SERIOUSLY searching for an interview with him today. Loved his work on "The American". Thanks for posting, man.
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#6 Gautam Valluri

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Posted 15 October 2010 - 01:35 PM

I was SERIOUSLY searching for an interview with him today. Loved his work on "The American". Thanks for posting, man.


You're welcome Ziryab.

Regarding Fincher and Mann using Digital even though they could afford film, perhaps it is somewhat of an 'innovator's complex'. Some people want to be the first to try the new things out.

I know everyone's talking about the new Reds and their 4k resolution. Have these people ever watched a 70mm print? What resolution is that?

(No offense to the digital-friendly members here)
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#7 Ben Brahem Ziryab

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Posted 18 October 2010 - 04:32 PM

Yes, I find hollywood directors involvement in digital cinematography, very odd as well, e.g David Fincher for "The Social Network". From a DP's point of view, who is primarily interested in aesthetics, we are starting to understand that digital capturing of images can serve the story or style of a film. Quite frankly, "The Social Network" was not one of those movies that really benefits from the digital camera's non-organic electronic response to highlights. I was also affected on Martin Ruhe's statement about "The Social Network", being the first feature projects on RED which looks "ok". I think he missed Soderbergh "Che", where you really see wonderful cinematography and quality to the 35mm blow-up + pretty much 30% of all feature films in Denmark last year, were actually shot on RED ONE.

And you're absolutely right Gautam. I don't think you can point out image resolution as being an advantage of digital rawdata systems. MTF measurements still proves modern film stocks to hold far better sharpness and details. Anyone seen Ron Fricke's Baraka on Todd-AO 70mm prints? I tell you, it's quality imagery at it's finest.
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#8 georg lamshöft

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Posted 19 October 2010 - 03:08 AM

I didn't saw "Che" as well but his last movies (all shot on RED) looked hideous - I think I would make it look that way to pull people away from RED... ;-)
Didn't they even shot Danish features in VHS-C and called it "Dogma 95"? I'll think Mr. Fincher is a better benchmark for quality in digital aquisition... :-)

I just saw "Inception" on 70mm IMAX and was really surprised who well the 35mm-parts held up (better than on Dark Knight). It looked more detailed and brilliant than the restorated 70mm-version of "Lawrence from Arabia" I saw on Berlinale - that's how far 35mm (lenses, film stock, >4k DI) has evolved - it's lightyears ahead of Genesis, RED, D21 or Alexa! I think we seem to forget what 35mm is capable of when constantly watching Blu-Rays (with questionable film-transfer) and bad 35mm/2k-projection.

Edited by georg lamshöft, 19 October 2010 - 03:12 AM.

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