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'The Northman' - shot by forum member Jarin Blaschke


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Looking forward to this one since it was announced!

The Northman (2022) Poster

The Northman  (2022)

Technical Specifications

Showing all 8 technical specifications
Sound Mix  Dolby Atmos | Dolby Surround 7.1 | Dolby Digital
Color  Color
Aspect Ratio  2.00 : 1
Camera  Panavision Panaflex Millennium XL2, Panavision Primo and Petzval Lenses
Laboratory  Cinelab, London, UK (film processing) (dailies) 
Goldcrest Post, London, UK (digital intermediate) 
Harbor Picture Company, London, UK (digital dailies)
Negative Format  35 mm (Kodak)
Cinematographic Process  Digital Intermediate (4K) (master format) 
Dolby Vision 
Spherical (source format) (some scenes) 
Super 35 (source format)
Printed Film Format  D-Cinema 
DCP

 

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Getting a Christopher Lambert 'Greystoke: The Legend of Tarzan' (1984) vibe to the 'still' of the YouTube video!!!!

I hope we can have a few 'anecdotes' from Jarin on this film soon.....like the super interesting Petzval lenses used!!!! Im really liking how Jarin pushes for new combinations of lenses and looks....in The Lighthouse he had some special filters made to go with the Double X stock he filmed with, inspired by Yousuf Karsh shot of Ernest Hemingway for example.

220px-Petzval.png
 
Petzval portrait lens.

The Petzval objective or Petzval lens is the first photographic portrait objective lens (with a 160mm focal length) in the history of photography.[1] It was developed by the German-Hungarian mathematics professor Joseph Petzval in 1840 in Vienna,[2] with technical advice provided by Peter Wilhelm Friedrich von Voigtländer [de]. The Voigtländer company went on to build the first Petzval lens in 1840 on behalf of Petzval, whereupon it became known throughout Europe.[2] Later, the optical instruments maker Carl Dietzler in Vienna also produced the Petzval lens.[2]

I wonder if the Petsval lenses are the ones Lomography 'brought back' and have been 'housed' for cinema cameras.....

Edited by Stephen Perera
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This is mostly accurate. Our Primos were adapted for us, the main differences are a round aperture rather than the spiky Primo aperture, some added barrel distortion, and subtle “cat’s eye” bokeh. The field also seemed to be deeper than a typical Primo. I basically asked Dan for 70% primo, 30% Cooke Panchro series 2. Who knows what he did and how he did it.

We also graded a DolbyVision version, which is THE way to see the movie.

Edited by Jarin Blaschke
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Thanks for posting Jarin! So the Petsvals????

I also had to look up what DolbyVision is: Dolby Vision® is a stunning HDR imaging technology that brings extraordinary color, contrast, and brightness to the screen.

Edited by Stephen Perera
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15 minutes ago, Jarin Blaschke said:

We also graded a DolbyVision version, which is THE way to see the movie.

I find most people are willing to accept at some level that HDR is a pretty good idea. Some DPs aren't particularly aware of the Vision grade, though; I've spoken to plenty of high end people who finished the conventional version and then let the colourist do the HDR. Approaches seem to differ.

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If there is one person in the world I wish I could take a portrait of its Nicole Kidman. It would be Hasselblad + 150mm C lens and Kodak Tri-X, making sure I have contrast in the shot and those eyes pop!

Very much looking forward to watching this on the big screen. April 22nd more or less in my part of the world. Will either watch in the cinema in Gibraltar or across the frontier in Spain.

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1 hour ago, Phil Rhodes said:

I find most people are willing to accept at some level that HDR is a pretty good idea. Some DPs aren't particularly aware of the Vision grade, though; I've spoken to plenty of high end people who finished the conventional version and then let the colourist do the HDR. Approaches seem to differ.

Well, I meant DolbyVision theatrical, which tops out at about 100 nits, but blacks are complete- a spooky effect in the theater when you dolly into a black doorway.

For home HDR, I capped highlights at about 130 nits. More than that affronts my eyes. Unless you are watching the film outside in broad daylight in Arizona.

 

j

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^ This is great. I wish every movie had a bts featurette that was so sincere and explained the process so well. Jarin's segment is really interesting. love "layered and complex" I'm excited to see the frames!

 

Edited by Albion Hockney
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On 2/28/2022 at 1:53 PM, Jarin Blaschke said:

This is mostly accurate. Our Primos were adapted for us, the main differences are a round aperture rather than the spiky Primo aperture, some added barrel distortion, and subtle “cat’s eye” bokeh. The field also seemed to be deeper than a typical Primo. I basically asked Dan for 70% primo, 30% Cooke Panchro series 2. Who knows what he did and how he did it.

We also graded a DolbyVision version, which is THE way to see the movie.

Stunning work - some really beautiful frames in there, Jarin!   Curious to hear more about what you used for the Petzval sequences - really lovely look and wild falloff!! 

 

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Jesus is this film amazing. I mean flat out incredible. A great example of every department working at the absolute best. 

I have to say, there is a scene with Kidman that blew my mind away, her performance was so above what I've seen from her before, I was just flabbergasted. Everyone else I expected them to kill it, but she destroyed it. 

I have to say, cinematography wise, I was very impressed. It sets a new standard in my mind for what you can do with film. I saw it on Dolby Vision and the HDR scan was incredible. Where I did see noticeable sharpening and noise reduction, it didn't bother me too much. 

One side note, I have yet to see Dolby vision without aliasing on the image. I saw it in the text elements on screen but also on textures on peoples faces. So underwhelmed by Dolby Vision. Every time I see it, I'm just shocked nobody else sees those problems. I wonder if it's just a calibration issue? But I've been to Dolby's headquarters and seen their test theater and it's got the same problem. Very odd and has nothing to do with the movie of course, but as a side note. 

Anyway, a MUST SEE film and yes, you gotta see it in the theater. I don't think a home theater would even deliver the impact. 

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Posted (edited)

Saw it too…..magnificent film…..really enjoyed it….the casting was so good…..albeit could not get beyond Ethan Hawke being Ethan Hawke and not the king he was playing…..I see the dilemma they have with choosing the next James Bond in that you can’t get beyond previous roles with some actors…….didn’t feel that with Nicole Kidman or Defoe……the film was engrossing to watch…..not saying Ethan Hawke didn’t act well mind…..

the cinematography was superb…..a key fight scene with the lava etc magnificent to watch…..the dialling back of the colour worked really well too…..the 35mm the perfect choice….

chapeau Jarin…..keep shooting our beloved film my friend so that we the minions can keep putting it in our Hasselblads et al

Edited by Stephen Perera
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On 3/1/2022 at 5:53 AM, Jarin Blaschke said:

We also graded a DolbyVision version, which is THE way to see the movie.

Jarin, any chance you could share with us how you approached lighting all of those big night exteriors? Were they largely day-for-night with sky replacements? Or BIG big fixtures up on the hills around the village?

I loved the sense of space you got into those night scenes, everything didn't just vanish into blackness beyond the foreground.

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2 hours ago, Mark Kenfield said:

Jarin, any chance you could share with us how you approached lighting all of those big night exteriors? Were they largely day-for-night with sky replacements? Or BIG big fixtures up on the hills around the village?

There is lots of BTS footage online, it's all real night exteriors with big fixtures. Pretty incredible honestly. I personally haven't seen so much effort put into night scenes in a while. Most people just don't bother lighting them. 

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