Pride & Prejudice

[Miguel Bunster]

Hi I have been searching for information on Pride & Prejudice shot by Osin. I remeber reading about the cinematography but cant find where and I am off in Chile now with no access to by magazines...anyone knows where i can find more info about it please?

As well I am shooting with 7218 which i made a test (and have shot before in 35 a lot) and like its feel and grain in s16mm but the director is concerned about the grain of this stock which i am not but got in my head.. I havent shot vision 2 200t in 16mm for some time but feel the grain is not that smaller than 18 but wanted some feedback please.

 

We are shooting 7218 going to telecine and finishing on an HD master (maybe a blow up from this to 35).

Thanks

Miguel

[David Mullen ASC]

Since "Pride and Prejudice" was shot in Super-35, then why would it help to know what stock was used (probably 5218) when you're shooting in Super-16? You'd have to shoot on 100T just to come close to the grain size.

 

There was nothing particularly unusual about the look of the stock itself for "Pride and Prejudice" - mainly what I noticed was that some sort of diffusion was used now & then, a net it seemed judging from the artifacts.

 

I would concentrate on getting the look you want for that particular project, starting around the technical fact that you are shooting in 16mm and going to HD. It would make more sense to copy the things about "Pride and Prejudice" that would be applicable, like the lighting for example, rather than the film stock, since you aren't shooting in 35mm.

[Miguel Bunster]

David,

I do agree. The stock question was for just knowing and not trying to replicate. And this is something I tated to the director that it will not look like that for the diference in format, dof etc. I wante to know more about how the DP aproached the exterior work specially some dawn scenes where everythign has a pale blue/green fill and hwo he lit the day exerios. I watched the movie carefully and a lot fo the day extwork was lit. Felt like they block the antural light and relit the people and a lot fo time a little warmer than the enviorement. There was always a warm soft light frontal or in an angle.My resources will not allow me to do this and its not my intention but really liked alot of the work done in the movie.

generally I like to work in exterios with big frame bounces more than lights even though some look of the fil requires to light the exteriors...now how i wil eb able to do this in the right way with a couple 10ks (gelled to ctb will be more like a 5k) and a 12 bulb brute (650 wats bulbs in 5000K range)will be interesting.

But none the less i wanted to read hwo he aproached this.

Thanks!

Miguel