Ravi Kiran

Below are some examples of period comedies. They mostly use the approach @David Mullen ASC suggests. The sketch comedy examples start with wides that are fairly true to the dramatic style one would expect, to establish the "serious" setting. Then they start to deviate from that with less shadowy lighting and less diffusion/fog than might be used in a drama, so that faces in the mediums and close-ups are more immediately legible for dialogue or reactions, while still retaining the "serious" look. Comedic period pieces -Monty Python and the Holy Grail -Monty Python's Life of Brian -Monty Python's Meaning of Life has some period scenes, (such as this one) -History of the World Part 1 -Robin Hood: Men in Tights -Our Flag Means Death (TV show) -Hundreds of Beavers (silent comedy inspired, rather than a "realistic" approach) Sketch comedy

In the early 2000s, were TV shows shot on film using different scanners than feature films going through DI's? Film-originated TV shows (and HD transfers of optically-finished films and shows) from that era display a chunkier grain structure/noise and clipped highlights/shadows. But I haven't noticed that feature films shot on film that went through DIs from that era look like that. Also, were features in that era scanned in 2K, or were they scanned in 4K for a 2K finish?

Roger Pratt, ‘Brazil,’ ‘Fisher King’ Cinematographer, Dies at 77

https://theasc.com/articles/stormy-isle-the-lighthouse What kind of dailies did you have? We had online links to dailies as soon as they were available, about a week after they were shot. If I wanted to get a better idea of focus accuracy, the performance of a lens, or even my exposure, I’d have to wait a couple additional days to watch ProRes files in the editing room. All were derived from the initial 4K master scan. After all those compressed references, grading the film a year later was a revelation. [The final grade was performed digitally by Joe Gawler at Harbor Picture Company in New York.]

Douglas Trumbull, Visual Effects Maestro on ‘2001: A Space Odyssey,’ Dies at 79

Saw this on Twitter:

Perhaps the American Genre Film Archive in Austin would take those films and equipment off your hands: https://www.americangenrefilm.com/

Is this getting any 70mm IMAX prints?

I don't know what kind of look you're going for, but shooting on MiniDV would get you an SD look without going all the way down to VHS quality. And if you use a professional or prosumer MiniDV camera you can manually control aperture, shutter speed, focus, and color temperature. I don't know if your S-VHS camera has that ability. You could also look into recording from a Hi8, VHS, or SVHS camera to an external recorder like an Atomos Ninja and bypassing tape altogether:

Some of the films with 2K DIs went though 4K rebuilds from the negatives for the UHD releases (a few Sony releases that I know of), but the majority of UHDs for 2K DIs are upscales. Even so, they benefit from the larger dynamic range and color space and better compression UHD provides, versus Blu-Ray.

How does the variable ND work? I couldn't find any specifics other than it not being polarizers. Are there any issues such as color shifting with the variable ND?

The IMAX reasoning for presenting it at 4:3 seems like a retroactive justification since it was originally framed for 1.85:1, according to the DOP. Plus, I can't imagine that 35mm blown up to a true IMAX screen would look great, if the presentations I've seen are any indication. If IMAX was the intention from the start, why not shoot at least some of it at 15/70, or on a 6K/8K digital camera? For those who have seen the Snyder cut, does the framing look like standard open matte framing, with excess headroom, above the 1.85:1 area?

https://britishcinematographer.co.uk/fabian-wagner-bsc-asc-justice-league/ I'm assuming that the IMAX version would have been opened up to 1.43:1. Maybe they did some reframing here and there for home viewing.

David Mullen is the guest on the January 24th episode of Team Deakins. It's always enjoyable and enlightening to hear what he has to say.

How Films were Made and Shown The Dawn of Technicolor