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The Eddy - Netflix May 8 (also shot on 16mm film)


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On 5/8/2020 at 8:38 PM, Stephen Perera said:

Just watched the first two episodes and they were superb.....am loving it.....the look is fantastic....and shot with a similar camera to mine.... the Aaton XTR Prod....I have the XTR XC.....then started watching the third episode.....wow what a visual difference......they are on acid if they think the RED matches 16mm film....ridiculous.....really? They could not afford 16mm film? Would only allow Damian Chazelle to shoot it? Em.....just keep the same cinematographer and camera operator, the same focus puller etc etc.....this is ridiculous.....What am I missing.........regardless of the decision...the first two episodes were superb.....as a jazz lover....even better.....so refreshing after having sat through the......overrated....Better Call Saul....

I worship Chazelle but the whole setting, locales are so unappealing to me that I won't check it out but it did seem from the trailer that there was zero effort made to match the Red to the 16mm in any way. Puzzling. It seems most of the other directors on the show are complete unknowns and Netflix, until Scorsese, had been strict about not shooting on film. So I guess he used his clout to shoot on film but it is a major diss to not allow the rest of it to be shot on film.

Not dissimilar to HBO though. They would have allowed Scorsese and Prieto to shoot the Vinyl pilot on 16mm but the rest of it would have had to be digital, go figure.

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have watched it all and it was excellent! maybe its cos I'm european and love jazz hahahahah

total mismatch between 16mm and the RED......the RED is awful in comparison.....looks cheap and off youtube hahaha.......

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I laughed really loud and long when I read Stephen when you said they must be on acid, some posts back on this thread 🙂

I totally agree. I mean, frankly speaking, I just don't get it. These dudes are supposed to be creative. They're supposed to be able to notice, you know, arty things. No .... I just don't get it. Red? I mean, really. I'm sorry, but really?

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To be fair, the Red CAN look fantastic. The Irishman, Mr Robot, anything Fincher directs, The Aeronauts, You, Sorry For Your Loss, Mindhunter, The Boys, Homecoming, Maniac and a ton of other stuff shot on the DXL or DXL2 as well. I prefer the Alexa and the Venice as far as digital cameras go though. 

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1 hour ago, Jon O'Brien said:

I laughed really loud and long when I read Stephen when you said they must be on acid, some posts back on this thread 🙂

I totally agree. I mean, frankly speaking, I just don't get it. These dudes are supposed to be creative. They're supposed to be able to notice, you know, arty things. No .... I just don't get it. Red? I mean, really. I'm sorry, but really?

hahahah yes Jon I know hahahah.......I mean, if I can shoot 16mm for personal projects and pay for it myself then Netflix can pay for the Kodak stock surely for a 'few episodes more' (cue Sergio Leone titles and Ennio Morricone score)

and Manu...of course the Red and all the others can look fantastic.....but how crap it looks in context, to my eyes, after episodes 1 and 2.....

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Well, I looked on Twitter and it was hilarious to see multiple comments saying the same thing, "ah wtf is this digital crap on episode 3, so jarring". At least it's reassuring that some people still have eyes and can easily tell the difference. 

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30 minutes ago, Manu Delpech said:

At least it's reassuring that some people still have eyes and can easily tell the difference. 

Reassuring that they can easily tell the difference but, maybe, even more reassuring that they care.

Edited by Jon O'Brien
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1 hour ago, Manu Delpech said:

Well, I looked on Twitter and it was hilarious to see multiple comments saying the same thing, "ah wtf is this digital crap on episode 3, so jarring". At least it's reassuring that some people still have eyes and can easily tell the difference. 

really? you mean 'normal' people have even commented to like minded? send link?

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"The 16mm film to digital transition on The Eddy kinda takes you out of it. I was digging that raw gritty handheld look on the early episodes."

 

"The work of Eric Gautier with the 16mm in The Eddy is kind of impressive, the guy finds each shot in the middle of zoom, camera in hand, pretty cool. Too bad that in the third episode someone on Netflix decided to switch to digital, it is very discrepant" (this one is a translation)

 

"The visual transition from 16mm to digital after the first 2 episodes of The Eddy is so apparent smh; it kinda ruins the rhythm ‘cause the desaturated look works so much better under the former format — looks like a VSCO filter lol. Still nice Netflix let him do so I guess"

 

This one needs to be linked to see the brilliant Whiplash inspired GIF: 

"https://twitter.com/davidviramontes/status/1255163526512955393?s=20"

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6 hours ago, Manu Delpech said:

anything Fincher directs, The Aeronauts, You, Sorry For Your Loss, Mindhunter,

well the grading workflow & special scripts the colorist team for fincher used for mindhunter as example… just to give it these look on a red is a special workflow in many ways.

 

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  • 10 months later...

Digital looks so dead to me. I love the look of 16 mm, especially the 7213 stock. Nothing digital can compare to film when it comes to capturing the color in a person’s face. Close-ups, on film, are stunning. Digital makes faces look like plastic. 

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Posted (edited)
17 hours ago, Steven Holloway said:

Digital looks so dead to me. I love the look of 16 mm, especially the 7213 stock. Nothing digital can compare to film when it comes to capturing the color in a person’s face. Close-ups, on film, are stunning. Digital makes faces look like plastic. 

it really IS night and day in this TV series.....I was quite surprised how much of a difference it made.....excellent series from start to finish regardless of film and digital use.....really enjoyed it.

Edited by Stephen Perera
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