Premium Member Satsuki Murashige Posted July 31, 2019 Premium Member Share Posted July 31, 2019 Dir. Robert Eggers DP. Jarin Blaschke Looks fantastic, really looking forward to this. The tonality of the black and white, the compositions, lighting, and VFX integration are stunning. Curious to hear details on how it was shot. Congrats, Jarin! 1 Quote Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted July 31, 2019 Premium Member Share Posted July 31, 2019 Very cool! Shot 35mm 5222 double - x Love the feel and the old school vfx look. Hope it doesn't come and go too fast in the theaters because I wanna see it. Quote Link to comment Share on other sites More sharing options...
Manu Delpech Posted July 31, 2019 Share Posted July 31, 2019 7 hours ago, Satsuki Murashige said: Dir. Robert Eggers DP. Jarin Blaschke Looks fantastic, really looking forward to this. The tonality of the black and white, the compositions, lighting, and VFX integration are stunning. Curious to hear details on how it was shot. Congrats, Jarin! https://www.kodak.com/GB/en/motion/Blog/Blog_Post/?ContentId=4295013233 Quote Link to comment Share on other sites More sharing options...
Premium Member Satsuki Murashige Posted July 31, 2019 Author Premium Member Share Posted July 31, 2019 Thanks Manu, great find! Quote Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted July 31, 2019 Premium Member Share Posted July 31, 2019 Yea great article! Very cool! 🙂 Quote Link to comment Share on other sites More sharing options...
Manu Delpech Posted August 1, 2019 Share Posted August 1, 2019 It's a bummer the trailer is only available on YouTube for now, that darn compression doesn't do it justice. A24 doesn't release many trailers on Apple Trailers as well. Quote Link to comment Share on other sites More sharing options...
Dom Jaeger Posted August 1, 2019 Share Posted August 1, 2019 Orthochromatically filtered Double X and vintage Baltar lenses! Can't wait to see this. Terrific actors too. The Witch was a sublime combination of language, set design and cinematography that fully immersed you in a particular time and place, I'm hoping this film will do the same. Quote Link to comment Share on other sites More sharing options...
Jarin Blaschke Posted August 1, 2019 Share Posted August 1, 2019 Thanks guys. I need to convince A24 to make prints! What's interesting about exposing and grading black and white is that you make day scenes brighter than you normally would, since it's your only tool to strengthen transitions between night and day. This is not fully portrayed by this first trailer, which has a very high number of shots from our "dusk" and "dawn" scenes. This film was much different than the Witch. This time, the night scenes around the "lantern" that look so dark in the movie were nearly blinding on set. It also has a proper black and often good highlights, unlike the low-con look of "The Witch." We may continue to stay rich in contrast for our next color film as well. Shall see. Harris Savides had such a profound influence on so many of us cinematographers. For me, the soft look and unending highlight scale stuck for a long time. Jarin 4 1 Quote Link to comment Share on other sites More sharing options...
Premium Member Miguel Angel Posted September 12, 2019 Premium Member Share Posted September 12, 2019 Second trailer is out!! It is amazing!!! Congrats @Jarin Blaschke!! :) Hopefully you convince A24 to make some prints and they send one to us in the UK 🤞 Looking forward to watching it! Quote Link to comment Share on other sites More sharing options...
Premium Member Tyler Purcell Posted September 13, 2019 Premium Member Share Posted September 13, 2019 I hope they do make a print or two for exhibition with actual black and white stock. That would be pretty darn cool! Quote Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted November 13, 2019 Premium Member Share Posted November 13, 2019 I saw this today -- it was like Sam Shepard and Martin Scorsese worked on a script that David Lynch directed. The look was amazing throughout. Was surprised at how sharp it was considering Double-X 35mm + old lenses but a D.I. and digital projection probably helped mitigate the softness. Quote Link to comment Share on other sites More sharing options...
Premium Member Phil Rhodes Posted November 14, 2019 Premium Member Share Posted November 14, 2019 Is it me misremembering or does 5222 not have the anti-halation backing? Quote Link to comment Share on other sites More sharing options...
Jarin Blaschke Posted November 14, 2019 Share Posted November 14, 2019 I’m pretty sure it has an anti-halation back later (like still films) but no rem-jet. But David probably knows definitively. Thanks for your compliments, David. Did you see it here at Camerimage or in a normal theater? I pulled the whole film 1/2 stop except for the gloomiest, flattest exteriors and never opened up beyond 2.8, so that also helps a tiny bit with sharpness. 1 Quote Link to comment Share on other sites More sharing options...
Premium Member Phil Rhodes Posted November 14, 2019 Premium Member Share Posted November 14, 2019 There's a wonderful halo on the shot of the lighthouse in the trailer. One daft question if you'll indulge me - there's a rather artistic shot of the lighthouse's lens system rotating which is used under the closing title of the trailer. Is that something that was shot, or is it something the title people came up with? P Quote Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted November 14, 2019 Premium Member Share Posted November 14, 2019 Correct, b&w film has a type of antihalation backing that is less effective than remjet. I saw it at the Arclight Hollywood. Did you use your cyan "ortho" filter even for interiors? Wouldn't lighting with daylight units with maybe some green on the lamps, plus exposing for less skin tone brightness, get you close enough for that effect inside? Old silent era movies actually used to use light make-up to compensate for ortho's effect. Quote Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted November 14, 2019 Premium Member Share Posted November 14, 2019 I normally feel that for interiors, b&w tonal contrast and luminance can be controlled through art direction and lighting so color contrast filters aren’t really necessary, especially if you are fighting for exposure. However, I can see that when it comes to skin tones without make-up, a greenish filter, for example, would make a face more textured by enhancing freckles, veins, etc. Quote Link to comment Share on other sites More sharing options...
Ravi Kiran Posted November 14, 2019 Share Posted November 14, 2019 (edited) I saw this a few days ago. It's a great film and a great-looking film. Did you have short-pass filters of varying strengths, or did you use one filter the whole time? Would the filter have a similar effect if used on a digital camera? How did you treat the image in the DI? Edited November 14, 2019 by Ravi Kiran Quote Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted November 15, 2019 Premium Member Share Posted November 15, 2019 You'd have to use a monochrome digital camera (Bayer filter removed) for color contrast filters to make sense. Quote Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted November 15, 2019 Premium Member Share Posted November 15, 2019 If you are shooting with a color digital camera, it's actually better to record a fairly saturated image so you have information on each color channel (red, green, and blue) so you can play with their individual luminance values before conversion to b&w to simulate the effect of color contrast filters on b&w film. Quote Link to comment Share on other sites More sharing options...
Jarin Blaschke Posted November 16, 2019 Share Posted November 16, 2019 On 11/14/2019 at 5:29 PM, David Mullen ASC said: Correct, b&w film has a type of antihalation backing that is less effective than remjet. I saw it at the Arclight Hollywood. Did you use your cyan "ortho" filter even for interiors? Wouldn't lighting with daylight units with maybe some green on the lamps, plus exposing for less skin tone brightness, get you close enough for that effect inside? Old silent era movies actually used to use light make-up to compensate for ortho's effect. I used the filter for every shot in the film, save for one mermaid close-up and one shot toward the end of the film. The short pass filter is very efficient for what it does. It is a 1-stop loss filter that gave test results not far from a 47B blue filter, which has a 4-stop loss (in tungsten light). It gave noticeably stronger results than a 58 green filter which is a 3 stop loss. It went in the matte box and we were done. And the set didn’t have to be a weird strong cyan color. Additionally, theres no way I could have gelled that phenomenally hot halogen bulb in the table lantern. White LEDs didn’t come close to requisite light levels in a small lantern, let alone a green\blue diode version. I also didn’t have to gel with safe distance and manage the gel kick-back and peripheral white light leak of six 9kHMIs bouncing outside the windows for day interior scenes. 1 Quote Link to comment Share on other sites More sharing options...
Jarin Blaschke Posted November 16, 2019 Share Posted November 16, 2019 On 11/14/2019 at 6:55 PM, David Mullen ASC said: I normally feel that for interiors, b&w tonal contrast and luminance can be controlled through art direction and lighting so color contrast filters aren’t really necessary, especially if you are fighting for exposure. However, I can see that when it comes to skin tones without make-up, a greenish filter, for example, would make a face more textured by enhancing freckles, veins, etc. Indeed, the reason was primarily for altered skin tones/texture and exterior atmosphere/sky effects. Quote Link to comment Share on other sites More sharing options...
Premium Member David Mullen ASC Posted November 16, 2019 Premium Member Share Posted November 16, 2019 Thanks for the info, it looked great -- like a Dreyer movie. What is the short pass filter? Who makes it? Quote Link to comment Share on other sites More sharing options...
Jarin Blaschke Posted November 16, 2019 Share Posted November 16, 2019 Schneider custom made it to my specs, and was able to make it within a month. Panavision owns them now. It’s over 95 percent transmittance for wavelengths shorter than 570nm and then on a dime plummets to zero for everything longer. It has a hot mirror baked in so can be used digitally too. 2 1 Quote Link to comment Share on other sites More sharing options...
Premium Member Adam Frisch FSF Posted November 16, 2019 Premium Member Share Posted November 16, 2019 Trailer looks amazing, Jarin. What a dream project for a cinematographer! On the Arris (and I think Panavisions), you can order them with a special black pressure plate. Because of the weak backing on B&W film, what happens when you have bright objects in image, is that the light actually goes through the film, bounces in the chrome plated pressure plate and then re-enters back into film, creating a weird halation and greatly reduces contrast. It's a classic problem when you shoot into light sources. With a black pressure plate this problem is greatly reduced, if not eliminated. Quote Link to comment Share on other sites More sharing options...
Jarin Blaschke Posted November 16, 2019 Share Posted November 16, 2019 1 hour ago, Adam Frisch FSF said: Trailer looks amazing, Jarin. What a dream project for a cinematographer! On the Arris (and I think Panavisions), you can order them with a special black pressure plate. Because of the weak backing on B&W film, what happens when you have bright objects in image, is that the light actually goes through the film, bounces in the chrome plated pressure plate and then re-enters back into film, creating a weird halation and greatly reduces contrast. It's a classic problem when you shoot into light sources. With a black pressure plate this problem is greatly reduced, if not eliminated. Yes, the black plate is mandatory and of course we used it. The plate is also ridged, so if you use the chrome version, you get striped halation with black and white film. Quote Link to comment Share on other sites More sharing options...
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