James Compton Posted January 23, 2015 Share Posted January 23, 2015 THE ACCOUNTANT starring Ben Affleck shot by Seamus McGarvey on KODAK 5219. Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted January 23, 2015 Premium Member Share Posted January 23, 2015 Universal's "Steve Jobs" is shooting both 16mm and 35mm film. Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 23, 2015 Premium Member Share Posted January 23, 2015 I see Danny Boyle is directing, it's interesting that he went back to film... for some reason, the IMDB doesn't list a cinematographer, who is shooting it? Link to comment Share on other sites More sharing options...
Mark Dunn Posted January 23, 2015 Share Posted January 23, 2015 I see Danny Boyle is directing, it's interesting that he went back to film... for some reason, the IMDB doesn't list a cinematographer, who is shooting it? Not yet hired? In you get, David. Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted January 24, 2015 Premium Member Share Posted January 24, 2015 I see Danny Boyle is directing, it's interesting that he went back to film... for some reason, the IMDB doesn't list a cinematographer, who is shooting it? Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted January 24, 2015 Premium Member Share Posted January 24, 2015 Oops! I hit the button too fast! David, Alwin Küchler is the cameraman. G Link to comment Share on other sites More sharing options...
Shawn Martin Posted February 14, 2015 Share Posted February 14, 2015 This was filmed a while ago, but the upcoming "Child 44" (shot by Philippe Rousselot and Oliver Wood) was film. Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted February 15, 2015 Premium Member Share Posted February 15, 2015 How's the Jobs shoot going, Greg? Jon Bowerbank told me he got to work with you for a bit the other day. Link to comment Share on other sites More sharing options...
Premium Member Gregory Irwin Posted February 16, 2015 Premium Member Share Posted February 16, 2015 How's the Jobs shoot going, Greg? Jon Bowerbank told me he got to work with you for a bit the other day. All good Satsuki! It's a dream job. And yes, Jon was with me for one of our multi camera days. He did a great job. G Link to comment Share on other sites More sharing options...
Anthony Schilling Posted February 23, 2015 Share Posted February 23, 2015 A few years ago when all movies were shot on film, a good chunk of them were consumer garbage just like now. As someone who sparingly shoots film on a personal budget, it quite irked me at the time as to how much 35mm film was being wasted on such content. I think Kodak's new "Film Worthy" campaign sums it up just right. A movie like "Scary Movie 15" would not be worth the silver. Link to comment Share on other sites More sharing options...
Leon Liang Posted February 23, 2015 Share Posted February 23, 2015 "With the support of the major studios, the creative community can continue to confidently choose film for their projects. We’ve been asking filmmakers, what makes a project ‘Film Worthy.’ Their responses have varied from the need for its exceptional depth to its distinctive grain, but overwhelmingly, the answer is ‘the story.’ They need film to tell their stories the way they envision them, and hold a strong desire for it to remain a critical part of their visual language. Enabling artists to use film will help them to create the moments that make cinema history. The agreements announced today are a powerful testament to the power of film and the creative vision of the artists telling them." – Kodak statement Comments, anyone? Link to comment Share on other sites More sharing options...
Shawn Martin Posted April 12, 2015 Share Posted April 12, 2015 Dan Mindel is about to shoot "Zoolander 2" for Ben Stiller. Not 100% sure that they're shooting film yet, but they probably are, given how much they both love it (and anamorphic). Link to comment Share on other sites More sharing options...
Shawn Martin Posted September 11, 2015 Share Posted September 11, 2015 Some more shooting film: Suicide Squad Wonder Woman The Magnificent Seven Live by Night The next Bourne movie Link to comment Share on other sites More sharing options...
Mark Sperry Posted October 12, 2015 Share Posted October 12, 2015 I dunno if you guys watch Project Greenlight but film/digital was a big plot point and film won! I think it was manufactured tension personally. You might simply be seeing a lot of film shooting because of the minimum order quantity as per the agreement with Kodak. That's a happy byproduct perhaps. I had been saying for years that this rush to shoot everything in 3D was a waste of time since what they should have been focusing on is larger or more interesting formats! Imagine if instead of fumbling The Hobbit with 3D HFR, (which was so quickly forgotten because everyone hated it) that PJ just shot 65mm and IMAX. The Master looks incredible, and you don't need a 4k projector and a theater to see the difference. The larger format is obvious even at home in HD. It's not just the film itself btw, I'm really excited to see some Alexa65 work. If I had the option I'd skip 35mm altogether and go from Super 16 to 65mm personally. And even in smaller formats you get a ton of character. Super 16 brought Moonrise Kingdom to life and works well for that kind of fantasy world. I do Super 8 weddings because HD has not done the human race any favors. The film complete transforms the day and hides all the crap you might as well forget. There needs to be better and more affordable scanning/Transfer solutions though! I don't mind digital projection if it retains the look of the original medium. 1 Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted October 13, 2015 Premium Member Share Posted October 13, 2015 I have a 70mm spherical film planned in a few years. The price to produce a 2hr film on 70mm photochemically, is around $1.5 - $1.8M, with 2 cameras on set (A unit, B unit) for a 28 day production with a 10:1 ratio. You can get that budget down a tiny bit if you only have one camera or of course, lower your ratio slightly. The lowest budget I could do for 70mm was still around 1M because you still need a 4k DCP, you still need to pay a timer to make it and you still need dailies, all of which are expensive. So if your production costs were low, I can see someone making a $5M, 70mm film. The problem is, who would want to waste a minimal of $1M of your budget on the capture format? Investors would think you were crazy, so that's why most people still shoot 35mm if they're going to shoot film for theatrical. In contrast, 35mm costs are pennies on the dollar, 2 perf 35mm being about the same cost (give or take 10k or so) as shooting in 4k digital. In my eyes, the only reason people don't shoot more 2 perf is due to the lack of equipment more then anything else. 3 perf does raise the price considerably and 4 perf even more. 16mm is still the cheapest decent film format and honestly, in the future I expect to see more 16mm films produced. Mostly because people want MORE grain to show they're shooting film these days and 16mm gives them that, all be it, without the super shallow depth of field which is what makes 35/70mm so nice. I have a feeling film has already hit rock bottom. Now it's time for a renaissance, its time for filmmakers to embrace the technology for what it is. Link to comment Share on other sites More sharing options...
Premium Member Jay Young Posted October 13, 2015 Premium Member Share Posted October 13, 2015 I've seen some really nice stuff that I guess faked? the 35/70 shallow depth of field. I have even written to a few cinematographers asking how they achieved such a look on 16mm and they always answer something akin to "it just worked I guess..." - Granted most of these persons are younger than 40, and may not actually know what film is; this is another interesting thing to think about, young persons making film on celluloid film negative learning the process which a lot of us already know so well. Link to comment Share on other sites More sharing options...
Stuart Brereton Posted October 13, 2015 Share Posted October 13, 2015 I have even written to a few cinematographers asking how they achieved such a look on 16mm and they always answer something akin to "it just worked I guess..." If you shoot s16 with a set of Super Speeds wide open at t1.3, you get the equivalent of a t2 - 2.8 split in 35mm. That's a pretty shallow stop. Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted October 13, 2015 Premium Member Share Posted October 13, 2015 Yea, just shoot all the way open with long lenses. I use that trick with my pocket cameras all the time because they have no visible depth of field otherwise. However, with a bigger imager, you can achieve shallow depth of field with shorter lenses. That's why larger formats are so powerful, you can tell right away if they're shot on 35mm. Link to comment Share on other sites More sharing options...
Igor Trajkovski Posted October 29, 2015 Share Posted October 29, 2015 From this Bridge of Spies B-Roll Behind-The-Scenes Footage we can see Spielberg/Kaminski holding onto film. :) Best Igor Link to comment Share on other sites More sharing options...
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