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Woody Allen's 2016 Film

Woody Allen Vittorio Storaro

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#1 Alexandros Angelopoulos Apostolos

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Posted 24 August 2015 - 03:11 AM

Have you read that Vittorio Storaro is the next cinematographer to work with Woody Allen?

 

One Web site says "reportedly":

 

http://blogs.indiewi...-1930s-20150807

 

the other one seems sure that it is the case:

 

http://www.woodyalle...lens-2016-film/

 

As always with Woody Allen's films, and many others, little is known about the film. It seems it will be set in the 1930s.


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#2 Alexandros Angelopoulos Apostolos

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Posted 25 August 2015 - 02:40 AM

Is the man in the white suite Vittorio? It seems so.

 

http://www.woodyalle...lens-2016-film/


Edited by Alexandros Angelopoulos Apostolos, 25 August 2015 - 02:41 AM.

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#3 Mark Dunn

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Posted 25 August 2015 - 04:15 AM

Haha.

https://en.wikipedia..._the_White_Suit


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#4 Alexandros Angelopoulos Apostolos

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Posted 25 August 2015 - 05:18 AM

:lol:

 

Is this light producing a fake sunset effect?

 

http://www.comingsoo...-film#/slide/19


Edited by Alexandros Angelopoulos Apostolos, 25 August 2015 - 05:19 AM.

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#5 Bill DiPietra

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Posted 25 August 2015 - 08:54 AM

IMDb lists Storaro's latest project being "Untitled Woody Allen Project" and its production status is "filming."


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#6 Alexandros Angelopoulos Apostolos

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Posted 26 August 2015 - 12:21 PM

I asked above: isn't he the man in the white suit? :)

 

Is this Woody's first film shot digitally?


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#7 Satsuki Murashige

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Posted 26 August 2015 - 09:36 PM

Yes, that looks like Vittorio speaking to 1st AD John Morse. Just worked with Morse, he's a cool dude and a big Giants fan which means he's good people in my book :)
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#8 Alexandros Angelopoulos Apostolos

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Posted 31 August 2015 - 02:16 AM

That's great! :) You have a first-hand source right there, on the set!


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#9 Freya Black

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Posted 30 October 2015 - 11:31 AM

So it would appear that Vittorio Storaro is shooting digital on the Sony F65!

This will be the first digital movie for Woody Allen and I think for Vittorio too!?

 

Freya


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#10 David Mullen ASC

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Posted 30 October 2015 - 12:16 PM

No, Storaro has done a couple of digital projects over the years, plus some early analog HDTV back in the 1980's. I saw his last Saura dance movie, a sequel to "Flamenco", and it had been shot on a Red One about five years ago I think. But otherwise he has mainly shot film, which works better for his high-contrast lighting style but now with cameras like the Alexa and Sony F65, this is less of an issue. I think he resisted digital for a long time because it wasn't 4K but now that also is less of an issue.

I just looked at his "Zapata" movie on DVD, a poor non-anamorphic low-rez copy but properly letterboxed to 2.00 : 1, unlike many of his other Univisium movies where the home video copy is either 1.78, 1.85, or 2.40. I can't really judge the movie itself since the DVD was Spanish-only.
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#11 Leon Liang

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Posted 13 November 2015 - 05:31 AM

So apparently the film will be shot on the Sony F65, in Storaro's usual 2:1 aspect ratio:

 

http://variety.com/2...vie-1201612893/


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#12 Freya Black

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Posted 13 November 2015 - 09:46 AM

No, Storaro has done a couple of digital projects over the years, plus some early analog HDTV back in the 1980's. I saw his last Saura dance movie, a sequel to "Flamenco", and it had been shot on a Red One about five years ago I think. But otherwise he has mainly shot film, which works better for his high-contrast lighting style but now with cameras like the Alexa and Sony F65, this is less of an issue. I think he resisted digital for a long time because it wasn't 4K but now that also is less of an issue.
 

 

Thanks David. Was the early HDTV stuff for the Japanese muse system or some early HD-Mac experiments? Sounds interesting!

I had no idea he did anything on the Red One. That slipped me by too! I'd like to see more of his work as I really like his style. I'm one of the few people who like the TV mini series of Dune. I think a lot of people think it looks cheap and chintzy but I'm really impressed at what they were able to pull off on a low budget and was surprised that the translite idea actually works some of the time (okay only some of the time but...)

 

Freya


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#13 David Mullen ASC

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Posted 13 November 2015 - 12:41 PM

https://en.wikipedia.../wiki/Sony_HDVS

 

Storaro shot a short film in 1983 called "Arlecchino" for RAI that I believe used the 1125-line prototype Sony camera that became the HDC-100 or HDC-500 used by Rotunno on "Julia and Julia".


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#14 Alexandros Angelopoulos Apostolos

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Posted 13 December 2015 - 02:20 PM

http://thefilmstage....ans-do-it-best/

 


And shooting digitally on the Woody Allen film was a good experience?

Yeah. No, no, very, very good, because technology today is much better than technology of five years ago. Second, the movie was mainly, basically in New York, mainly morning interior — particularly in October, where, most of the time, it’s under control. I’m not happy about the fact that digital capture today is different than video cameras; it has so high a sensitivity sensor. It maybe can be used for night, it maybe can be used for different interiors, but it’s totally against the capture of image under the sunlight. So practically you have to use an incredible number of filters in order to record an image outside. That’s something that the modern technology should provide to us, what we had before. Before we had four different films: two for artificial light; two for natural light. And two different eye sensitivities. So you can choose the best, according to your location, in order to capture the maximum number of information. There’s larger range of images, according to the place where you are. Here, you have only one. This doesn’t work.

 

 

I wonder what kind of filters did he use for exterior shooting.

 

Is this the usual practice?

 

I do hope he pops up in the American Cinematographer when the film opens, which, I presume, will be at the Cannes Film Festival next year.


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#15 Alexandros Angelopoulos Apostolos

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Posted 17 December 2015 - 09:39 AM

How does this camera, Sony F65 CineAlta, compare to other cameras in its class and what are some of those cameras?


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#16 David Mullen ASC

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Posted 17 December 2015 - 12:57 PM

The Sony F65 is sort of the Rolls Royce of digital cinema cameras, other than the newer Alexa 65. Since the photosite grid of the sensor runs diagonally instead of straight up & down (rotated 45 degrees), they count 8K worth of photosites across and can claim that it is an 8K sensor, but if you count the total number of photosites, you get something similar to what a 6K sensor would give you, like in the Red Dragon.  So 6K or 8K, either way, they record that raw in 16-bit, so it's a very high resolution image with a lot of information.

 

"Oblivion" and "Tomorrowland" were shot on that camera.

 

It's considered to be on the bulky side, though no bigger or heavier than a 35mm movie camera rig.  Truth is that weight-wise, it is not much heavier than an Alexa.

 

The Red Dragon is probably the closest competitor resolution-wise, and the Alexa 65, but the other high end digital cinema cameras are all close depending on whether you care more about resolution or dynamic range.  From what I've seen, the Sony F65 has a nice combination of the dynamic range of an Alexa but the resolution of a Red Dragon.

 

(I edited this post because I mistakenly said the sensor had 8K of green photosites across when I meant just 8K of photo sites across.)


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#17 Alexandros Angelopoulos Apostolos

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Posted 17 December 2015 - 04:41 PM

That's wonderful. :)

 

Thank you for the information.

 

So since this film will be shot at 4K, how does that work? The cameras has such a setting, similar to how still cameras have various file sizes available for pictures to be recorded at? It won't be shot at 6K or 8K and then downsampled?


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#18 Alexandros Angelopoulos Apostolos

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Posted 17 December 2015 - 04:56 PM

So far I found that these films were shot with the Sony F65 CineAlta:

 

Kickstart Theft (2012)

Made in Jersey (2012)

Tears of Steel (2012)

Save Me (2012)

The New Normal (2012) – partly

After Earth (2013) – partly

Belle (2013)

Evil Dead (2013)

Vénus à la fourrure (2013)

O tempo e o vento / Time and the Wind (2013)

White House Down (2013)

The Smurfs 2 (2013)

About Last Night (2014)

Deliver Us from Evil: Sarchie (2014)

Kış Uykusu / Winter Sleep (2014)

Let's Be Cops (2014) – partly

Lucy (2014) – partly

Testament of Youth (2014)

The Dark Horse (2014)

Ex Machina (2015)  – partly

 

I see that Alexa 65 has only so far been partly used for Spectre.


Edited by Alexandros Angelopoulos Apostolos, 17 December 2015 - 04:57 PM.

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#19 David Mullen ASC

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Posted 17 December 2015 - 05:13 PM

A lot of "The Revenant" was shot with the Alexa 65, along with the regular Alexa and some 65mm film.


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#20 Kenny N Suleimanagich

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Posted 17 December 2015 - 05:16 PM

Mission Impossible: Rogue Nation used the Alexa 65 for the underwater green screen work. Many of these productions now being released were using very early examples of the camera. 


Edited by Kenny N Suleimanagich, 17 December 2015 - 05:21 PM.

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