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#1 David Mullen ASC

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Posted 11 October 2015 - 08:00 PM

I felt like I watched a great Broadway drama in three acts, and I mean that as a compliment.

 

The cinematography was wonderful, the first act in Super-16, the second in Super-35, and the last on the Alexa in Arriraw, all on Master Primes.  

 

While I'm a big fan of the Alexa and find it to be the most film-like of all the digital cameras out there, you really feel the "digital look" in the last act, hyper-clean and super-sharp.  It almost looks like it was color-corrected to enhance, rather than hide, its digital origins -- muted saturation, no noise, a bit of edge enhancement, etc.  The 35mm sequence before feels "warmer" even though it was timed on the cold side.  The Super-16 looked lovely, more like pushed 35mm, nice textures almost like "Eyes Wide Shut".


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#2 Robin R Probyn

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Posted 11 October 2015 - 10:13 PM

Pretty brave move..  presumably the Alexa footage was purposely made to look "electronic" for the story ?   you would think it would be impossible that it was just done.."badly"


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#3 David Mullen ASC

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Posted 11 October 2015 - 11:00 PM

Alwin Kuchler doesn't know how to be bad, he's that good... It's clear that there was a visual design to distinguish each act with a different format, so it makes sense that the Alexa footage was not shot or color-timed in a way to be seamless with the 35mm footage of the previous act, it would in fact actually make LESS sense if the Alexa matched the 35mm footage in this case.


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#4 Robin R Probyn

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Posted 11 October 2015 - 11:06 PM

Yes thats what I mean.. quite a brave move though.. when you think they just could gone the more usual road..


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#5 Kenny N Suleimanagich

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Posted 12 October 2015 - 12:08 AM

How did Super 16 with Master Primes look? That’s something I’m particularly interested in. 


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#6 Manu Delpech

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Posted 12 October 2015 - 05:46 AM

Reading Kuchler's words on the decision to super 16, 35 and Alexa, yeah, it was all so well thought out, movie only comes out in January here, but I've been on it since the very first teaser, it looks so beautiful ! @ Kenny: just check the QT trailers, namely numero dos, I think it looks great, but keep in mind that Kuchler pushed the super 16, hence the grain is a bit more than it should be, I've seen really tight grained super 16 lately.

 

From Indiewire, Kuchler speaking:

 

"Working in 16mm was liberating for Küchler because it was so rough and light and retro cool. Not surprisingly, he used period practical lights but also made it look harsher for greater contrast. The second section shot on 35mm film is more polished but darker, in keeping with Jobs plotting his revenge against Apple (the cinematographer likens it to "The Godfather Part II" and "Citizen Kane"). And the digital gloss of the final section conveys eventual success and how Jobs learns to comfortably live within his own skin.

"We didn't want Michael Fassbender to end up in darkness [all the time] so we had to be clever about choices and work out the logistics of where he would be and how you could help that, giving the actor the best means to perform," Küchler continued. However, for "the worst sacking in corporate history," he utilized darkness, heavy rain and wide angle lenses to emphasize the humiliation and lack of control for the ultimate control freak."

Rest of the article for those interested: http://blogs.indiewi...-looks-20151009


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#7 rob spence

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Posted 12 October 2015 - 01:24 PM

Seems to be a similar mix of cameras on 'Suffragette', it looks fabulous judging by the trailer. The Super 16 looks great...I'm not sure which bits were shot on the Alexa, anyone seen it yet?


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#8 Gregory Irwin

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Posted 12 October 2015 - 05:59 PM

Hi all,
We shot the third act on Alexa along with an early restaurant scene between Jobs and Scully. The first act was super 16 with Zeiss, standard primes and Cooke Panchros. All else were the Zeiss spherical Master Primes.

G
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#9 David Mullen ASC

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Posted 12 October 2015 - 11:18 PM

Thanks, Greg!  The first part, that was Super-16 just cropped to 2.40, right?  Was it 7219 stock?  And the 35mm was 5219?


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#10 Kenny N Suleimanagich

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Posted 12 October 2015 - 11:49 PM

Interesting about mixing Zeiss and Cooke on the S16. I look forward to seeing it.
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#11 Gregory Irwin

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Posted 13 October 2015 - 01:11 AM

O

Thanks, Greg!  The first part, that was Super-16 just cropped to 2.40, right?  Was it 7219 stock?  And the 35mm was 5219?


Actually David, I had Keslow Camera make custom 2.40 ground glasses for the 416s.

G
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#12 Gregory Irwin

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Posted 21 October 2015 - 11:28 AM

I just got back to Vancouver, BC from Dubai to wrap up Star Trek Beyond and had the pleasure of seeing STEVE JOBS last night. It was a pleasure to work on and even more to watch and experience. Alwin Kuchler's lighting is spectacular and Danny Boyle's direction is masterful. The cast was simply amazing memorizing 11 pages of Aaron Sorkin dialogue everyday. Everyone's work on this very special picture was no less than stellar. I'm very proud to have been a part of it. Enjoy SJ if you chose to see it.

G
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#13 Satsuki Murashige

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Posted 21 October 2015 - 12:26 PM

Awesome, can't wait to see it Greg! You deserve a break :)
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#14 Gregory Irwin

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Posted 22 October 2015 - 10:29 AM

Awesome, can't wait to see it Greg! You deserve a break :)


Thanks Sat. I am going to take a break. But I do miss the San Francisco restaurant, Sotto Mare where you and I had that great lunch during the production of SJ. Love that place!

G
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#15 Satsuki Murashige

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Posted 22 October 2015 - 03:36 PM

Next lunch is on me Greg!
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