Jason Reimer Posted May 10, 2009 Share Posted May 10, 2009 Hey guys, Just saw the trailer for Coppola's new film, and was wondering if anyone has read anything about it yet? Here's the link: http://www.apple.com/trailers/independent/tetro/ At the very least, the cinematography looks beautiful. We'll find out for sure next month when it comes out... Link to comment Share on other sites More sharing options...
Saul Rodgar Posted May 10, 2009 Share Posted May 10, 2009 It looks very crisp. Certain areas that usually get grain when shot on film, like blue skies and such are grain free, so I am thinking it was shot digitally, anybody know? I can't seem to find any info online . . . Link to comment Share on other sites More sharing options...
Antti Näyhä Posted May 11, 2009 Share Posted May 11, 2009 Interesting you should say that. Did you watch the 1080p version? To me it looks very much like film (or, to be exact, very much like film-originated HD video). Link to comment Share on other sites More sharing options...
Saul Rodgar Posted May 11, 2009 Share Posted May 11, 2009 (edited) Interesting you should say that. Did you watch the 1080p version? To me it looks very much like film (or, to be exact, very much like film-originated HD video). No, I watched the 720p version. I could be wrong about it being originated on video, it just looked too sharp and grain free for my taste. Maybe what I saw is a combination of super sharp lenses and extra fine grain film stock? Edited May 11, 2009 by Saul Rodgar Link to comment Share on other sites More sharing options...
georg lamshöft Posted May 11, 2009 Share Posted May 11, 2009 The compression adds always digital artifacts, so it's sometimes hard to tell - but to me it looks like heavy digital noise, the images look flat, no accentuated grain. Link to comment Share on other sites More sharing options...
Antti Näyhä Posted May 11, 2009 Share Posted May 11, 2009 (edited) OK, I just watched the first three minutes (clip available on the same page as the trailer) and I guess you guys are right. The low-light street scenes look very digital, complete with video noise and the flat rendering of shadows. What do you think – could this be the Viper? For some reason, I was fooled by the trailer but definitely not this clip... Maybe I've already seen too much 35mm-originated material butchered by a compressed HD transfer to see the difference anymore. <_< Edited May 11, 2009 by Antti Näyhä Link to comment Share on other sites More sharing options...
georg lamshöft Posted May 12, 2009 Share Posted May 12, 2009 I think we've all been "butchered", we normally don't see 35mm but 35mm + telecine, 35mm + scanner, 35mm + compression and not so many well treated film-copies or high-quality transfers (scanner + 4k)... The DoF looks very 2/3" - most likely Viper or F23. Link to comment Share on other sites More sharing options...
Premium Member Adrian Sierkowski Posted May 12, 2009 Premium Member Share Posted May 12, 2009 For me, the Highlights in the opening of the trailer scream video more so than any compression/grianlessness. I also tend to see HD/Video in how it creates a rather abrupt "white," if that makes any sense. I also seem to recall Coppola talking about how much he liked digital processes after Youth Without Youth, I think it was covered by Post Magazine, something about him not wanting to go back to film. That was awhile ago, of course, and I could be mis-remembering it horribly. Link to comment Share on other sites More sharing options...
Antti Näyhä Posted May 12, 2009 Share Posted May 12, 2009 I also tend to see HD/Video in how it creates a rather abrupt "white," if that makes any sense. Definitely. But unfortunately I've been seeing that kind of highlights in some 35mm-originated Blu-Ray transfers lately as well, so it's not as sure a sign of digital origination as it used to be anymore... Link to comment Share on other sites More sharing options...
Premium Member Adrian Sierkowski Posted May 12, 2009 Premium Member Share Posted May 12, 2009 Quite true on that. Not to get too far off of topic, but I often wonder if the strange whites/blacks are more a function of the HDTV or the BluRay master... Link to comment Share on other sites More sharing options...
Premium Member Keith Mottram Posted May 12, 2009 Premium Member Share Posted May 12, 2009 the fact that no one's sure shows just how far digital has come. this is in itself a minor cause for celebration. i'd be very surprised if it is not digital though... Link to comment Share on other sites More sharing options...
Michael Belanger Posted May 12, 2009 Share Posted May 12, 2009 My eye for digital camera's isn't that good, but there are several shots in the behind-the-scenes footage titled "La Boca" at Tetro.com I seem to remember he bought a couple of sony HDCAMs of some sort for Youth Without Youth so it may be the same gear. Link to comment Share on other sites More sharing options...
Michael B McGee Posted May 12, 2009 Share Posted May 12, 2009 thanks for the clip Jason. looks like the old man's still got it. Link to comment Share on other sites More sharing options...
Jason Reimer Posted May 12, 2009 Author Share Posted May 12, 2009 Regardless of what one thinks of the format it was shot on, you have to love the lighting. Yes, I wish it had that film look to go with the lighting (like Phil Meheux did with the first few minutes of Casino Royale), but I'll still go see this, and hopefully Coppola has a good story to tell. I guess I'm hoping when it comes out we'll be talking about those things, the lighting and the story, rather than yet another film vs digital debate. I'm not sure I've seen one of those yet that didn't end up being really polarizing. Link to comment Share on other sites More sharing options...
georg lamshöft Posted May 17, 2009 Share Posted May 17, 2009 (edited) They just shown a little report on Tetro in German/French-television: http://www.arte.tv/widget-video-v2/player....autostart=false Viper + Digiprimes? The fact that we can see by a tiny, strong compressed trailer which format was used is even surprising. After all this manipulation and post-work we can still see significant differences, that would be impossible with other comparisons (like piano makers). We are talking about film, about it's DR and specific look, but in most cases we just see the digital interpretation of it, a telecine and the compression propably adds digital artifacts (like highlight-handling) to film - we got used to a certain "digital look". But somehow I can understand Coppola, as far as I know he tries to stay as far as possible from the studios, so even bringing film to labs, giving it to someone else, propably feels like "Hollywood" to him!? Edited May 17, 2009 by georg lamshöft Link to comment Share on other sites More sharing options...
Tom Lowe Posted May 19, 2009 Share Posted May 19, 2009 I'm unimpressed. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted May 19, 2009 Premium Member Share Posted May 19, 2009 Deeper focus photography worked better in b&w where you aren't distracted by background color information coming into focus, so I've often thought that if I were going to make a b&w movie on a digital camera, I'd actually prefer using a 2/3" camera where it would be a lot easier to get the look of shooting 35mm at an f/8 or higher, ala some deep-focus movies of the 1940's. Also, b&w digital photography does eliminate the color (obviously) which is one extra clue about the digital origination, the way that fleshtones look. Of course, the other aspect of b&w photography tends to be the silver grain that is visible (except in large format photography), the major thing missing in b&w digital. Link to comment Share on other sites More sharing options...
Ram Shani Posted May 19, 2009 Share Posted May 19, 2009 go to the wed site http://www.tetro.com/ there is a BTS video near the end you see the cam to me its look like f-23 Link to comment Share on other sites More sharing options...
Antti Näyhä Posted May 19, 2009 Share Posted May 19, 2009 Right on, that is definitely a Sony in the La Boca BTS clip – you can even just make out the logo in the distinctive viewfinder tube. Excellent points there, David. I would add that digital noise can look less distracting in B&W. Link to comment Share on other sites More sharing options...
David Rakoczy Posted May 19, 2009 Share Posted May 19, 2009 I have to agree with Tom Lowe.. I wasn't impressed either. Maybe sitting thru the entire Story would change my mind but I have to say... it ain't no Rumble Fish!....(visually)... way to 'Digital' for my taste. <_< Too bad because he is one of my favorites.. his Claret Red Wine is also very nice.. but this B&W Digital production... not so good. Link to comment Share on other sites More sharing options...
Russell Richard Fowler Posted May 20, 2009 Share Posted May 20, 2009 I am scheduled to handle the screening in Miami on June 11th......the current information is that the media is coming in on Blu ray disk....subject to change. Link to comment Share on other sites More sharing options...
Premium Member Francis Kuhn Posted May 20, 2009 Premium Member Share Posted May 20, 2009 It screams video. Really disappointing. -Fran Link to comment Share on other sites More sharing options...
Trevor Masid Posted May 24, 2009 Share Posted May 24, 2009 He should follow sofia's example and stick to film. However, the trailer is shot fantastically.. I just dont like the "digital" blown out highlight effect that usually is the dead giveaway for someone shooting digitally. Link to comment Share on other sites More sharing options...
Guest Matti Poutanen Posted June 12, 2009 Share Posted June 12, 2009 In an AICN interview Coppola himself says the camera is "It’s the Sony 900, the same I used for Youth Without Youth". http://www.aintitcool.com/node/41390 Link to comment Share on other sites More sharing options...
Russell Richard Fowler Posted June 13, 2009 Share Posted June 13, 2009 (edited) I supervised the screening Thursday evening in Miami; there where other screenings in the U.S.A. at the same time, to coordinate with Francis father's birthday. The media was Bluray via a HD projector and Dolby 5.1 Digital Sound. The ratio appeared to be 2:40/1 in Black and White with 1:85 and 1:33 color flashback sequences. The black and white only exhibited a couple of back lit street scenes which "looked" digital.....the color sections exhibiting a warm bias and a "Tales of Hoffman" sequence having a classic 1940 - 50's Technicolor look. The black and white was not very very high contrast....looking as you would extract B&W from a color negative (similar to contrast seen in D.P. Roger Elswit work in Good Night and Good Luck) but with careful modeling and great work from D.P. Mihai Malaimare Jr. Long time editor / sound designer Walter Murch expertise produced a great soundtrack and visuals. There was great care in image processing that six feet away from the screen....it looked like Kodak Plus-X 35mm....with grain. The Blu-ray disks and 3 back ups had proper color bars / count down / sync pop and accurate time code made it easy to prep / cue and present. A full house and plenty of "Film Cut" Chardonnay from Francis's winery made it a great screening.... Edited June 13, 2009 by Russell Richard Fowler Link to comment Share on other sites More sharing options...
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