Premium Member Frank Barrera Posted November 7, 2015 Premium Member Share Posted November 7, 2015 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 Link to comment Share on other sites More sharing options...
Stuart Allman Posted November 7, 2015 Share Posted November 7, 2015 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 --------------------------------- illuma.blogspot.com Link to comment Share on other sites More sharing options...
Premium Member Frank Barrera Posted November 7, 2015 Author Premium Member Share Posted November 7, 2015 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 Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted November 30, 2015 Premium Member Share Posted November 30, 2015 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. Link to comment Share on other sites More sharing options...
Jonathan Flanagan Posted December 13, 2015 Share Posted December 13, 2015 Here is an extended discussion/q+a of Sicario between Roger Deakins and Dick Pope BSC for the BSC. Link to comment Share on other sites More sharing options...
John Holland Posted December 13, 2015 Share Posted December 13, 2015 I really hope it gets lots of nods in this awards season .Maybe the best film I have seen this year . Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted December 19, 2015 Premium Member Share Posted December 19, 2015 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. Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted January 25, 2017 Share Posted January 25, 2017 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? :) Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted January 25, 2017 Premium Member Share Posted January 25, 2017 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. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted January 25, 2017 Share Posted January 25, 2017 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. Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted January 30, 2017 Share Posted January 30, 2017 Funny: just around the time I was inquiring about this, it seems this appeared on the Film School Rejects Web site: https://filmschoolrejects.com/paint-it-black-the-silhouettes-of-cinematographer-roger-deakins-b5a57dc9b918#.dsi20yspi But looking at these two 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? Link to comment Share on other sites More sharing options...
Premium Member Mark Kenfield Posted January 31, 2017 Premium Member Share Posted January 31, 2017 By the way, while I’m at it, how did he achieve this mix of blue and purplish? With a frontal blue key, and a purple top light. 1 Link to comment Share on other sites More sharing options...
Alexandros Angelopoulos Apostolos Posted February 1, 2017 Share Posted February 1, 2017 Thank you. I thought: blue from her right, purple/pink from her left and also behind her on her right. Link to comment Share on other sites More sharing options...
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