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Sicario

night vision

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#1 Frank Barrera

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Posted 07 November 2015 - 11:44 AM

Hello all,

 

What does anyone know about specific cameras and/or rigs used for the nightvision work at the end of Sicario? Do tell.

 

Thanks

 

f


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#2 Stuart Allman

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Posted 07 November 2015 - 01:57 PM

Frank,

 

I believe the equipment was talked about in the latest issue of American Cinematographer.  I think the infrared images were captured with a FLIR camera.  I forget what they said about the night vision images.

 

Stuart

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#3 Frank Barrera

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Posted 07 November 2015 - 02:41 PM

Stuart,

 

Ha. I know its in this month's issue but I can't find it in my house and cant access it online. I just saw the film yesterday and I need to know!

 

Funny, I can find September and November issues....

 

thanks

 

f


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#4 Satsuki Murashige

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Posted 29 November 2015 - 07:33 PM

Sicario was fantastic. Some really ballsy work from all involved and amazing to find out that the border crossing sequence had so much set extension VFX in it. Thought the ending was a bit of a let down, I don't think we needed to see Benicio Del Toro's revenge scene. Would have been truer to the established tone to stay with Kate I think. I think this is some of Deakins's best work, no flash at all but distinctly from his point of view and just telling the story creatively with images. It has stayed with me for weeks.
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#5 Jonathan Flanagan

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Posted 12 December 2015 - 10:56 PM

Here is an extended discussion/q+a of Sicario between Roger Deakins and Dick Pope BSC for the BSC.


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#6 John Holland

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Posted 13 December 2015 - 01:10 PM

I really hope it gets lots of nods in this awards season .Maybe the best film I have seen this year .


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#7 Tyler Purcell

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Posted 19 December 2015 - 02:10 AM

I just sat down to watch Sicario tonight and I really enjoyed it.

They built suspense very well and held it for long periods of time without anything happening. I thought the characters were not very kinda flat, but honestly that's reality! I thought the story being Benicio Del Toro's at the end was great and semi unexpected. The best things over-all was it's cinematography, realism and pacing throughout. The whole package was a bit different then a regular movie, the audience was taken along with Blunt on the ride. The stuff with the Mexican cop wasn't too important, but I understood where that was coming from and why it was there. My only real complaint would be Blunt's motivation, it seemed kinda weak. I also thought Benicio Del Toro should have been shot at the end by Blunt's partner. To me, that would have been the icing on the take, but meh, what can you do!

Deakins is amazing with the Alexa. He's the only person capable of shooting digital and making it look like film, every single time. It was smooth (no digital crispness), had no digital noise, none of the standard issue mid tone issues or highlight clipping issues you see with MOST digital movie. Furthermore, no digital-looking motion blur! Bravo!

Over all Sicario was a great film and very entertaining. I have a bad feeling it will be overlooked in this years award season, which is a real shame.
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#8 Alexandros Angelopoulos Apostolos

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Posted 25 January 2017 - 05:20 AM

I'm going to ask pretty much the same thing I asked in the thread about Arrival. Regarding that special-ops scene where their silhouettes appear against the nautical-twilight sky... How does that work? You check when the nautical twilight begins, you make sure everyone and everything’s is there at the time and you shoot? It doesn’t matter if there are perhaps less clouds than you might like? And also, is there any equipment out of the frame or is it all done in available light? :)


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#9 David Mullen ASC

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Posted 25 January 2017 - 10:41 AM

There's nothing complicated about shooting people silhouette against the twilight sky, since the sky is the brightest thing left at the end of the day outside away from artificial light sources. You just set the exposure for the sky.  It's more about composing people in silhouette, going low with the camera to get the brighter part of the sky to frame their dark shapes against.

 

You want a clear-ish day because overcast weather will spread the light everywhere and lower the brightness difference between the horizon and the ground.  A few clouds catching the last reddish rays of the sun behind the horizon will add some contrasting color in that blue glow.


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#10 Alexandros Angelopoulos Apostolos

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Posted 25 January 2017 - 03:34 PM

Thank you. :) I forgot my own thoughts: thank you for reminding me that I “brilliantly” figured it out, d’oh, some time ago about it all being a simple “expose for the sky” kind of thing. But I’m also grateful for finding out something new: that thing about reddish rays and how what’s great about it is the camera’s angle, perspective, and composition (didn’t know that), and not that much when it was shot – it’s just a simple, but beautiful, additional layer.

 

I almost felt that that helicopter flying over water from Arrival was an homage to Sicario, though I realize that that’s probably stretching it and that it’s been done before.

 

Perhaps I’ve seen or, better, come across a few movies with this sort of bluish twilight photography in a short amount of time so I got the wrong impression that that’s a thing now in cinematography.


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#11 Alexandros Angelopoulos Apostolos

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Posted 30 January 2017 - 05:01 PM

Funny: just around the time I was inquiring about this, it seems this appeared on the Film School Rejects Web site:
 
 
But looking at these two
 
sicariocc_018.jpg
 
deakins2MAIN.jpg
 
I really hope they waited just before nightfall to shoot. Otherwise, it’s kind of fake?
 
By the way, while I’m at it, how did he achieve this mix of blue and purplish?
 
13273_16.jpg

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#12 Mark Kenfield

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Posted 31 January 2017 - 02:58 AM

 

By the way, while I’m at it, how did he achieve this mix of blue and purplish?
 
13273_16.jpg

 

 

With a frontal blue key, and a purple top light.


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#13 Alexandros Angelopoulos Apostolos

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Posted 01 February 2017 - 09:42 AM

Thank you. I thought: blue from her right, purple/pink from her left and also behind her on her right.
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