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Manu Delpech

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  1. Incredible episode indeed. Sam Levinson is madly talented.
  2. Season 2 is fantastic, superior to the first I feel.
  3. The show looks better than it ever has. Switching from Alexa 65 to 35mm was the best decision they could ever have made. Such an upgrade.
  4. S2 premiere just began and they completely switched to film ! AND they managed to convince Kodak to produce Ektachrome stock for the show. Just gorgeous. Such a step up visually.
  5. With a good connection, the grain is resolved really well on all streaming services I use. On regular broadcast though, it can suffer sometimes.
  6. I doubt Linus and Cary are pandering to the masses, nor is anyone shooting anamorphically really.
  7. Denis said he's happy they didn't shoot back to back as he would never have been able to do it, he was too exhausted.
  8. Excellent series, never saw the original. Isaac's best work to date and really well shot too.
  9. Gorgeous work as expected, saw it on HBO Max and obviously, compression and all, but whatever they did with the filmout is extremely subtle, it just doesn't feel like on. I'm excited to see if it sticks out (it should) much more on the UHD Blu Ray. The texture though is very pleasant.
  10. More info from ICG Mag: https://issuu.com/icgmagazine/docs/october2021/32 "There was one new step added to postproduction, an innovation that first occurred to Fraser while shooting Vice. “I thought that after the DI, we could spin the final out to film before scanning neg back in,” he says. “The idea was to see if that got us back some of the intrinsic beauty of film, specifically its contrast range and how it exposes highlights. We discovered that it also served to take the digital edge off the bright sun highlights.”Cole and Fraser had tried the approach before on a music video. “We found shooting to a digital negative that has the exposure level of 1 ASA, like a dupe stock and with the smallest possible amount of grain, was very similar to what true 15-perf, originated-on film looked like when you put them up on IMAX screens,” the colorist reveals. “It wasn’t about grain per se, but all the aspects that one might describe as film artifacts: interlayer halation, the nonlinearity of density across the frame and even allowing some dust to come through. The weave, blur, and slight density breathing of film – the latter is something we had tried emulating digitally – were organic qualities that in the past we did everything possible to mitigate against, but here we were trying to bring them to the fore since they don’t exist in digital. They added a sense of life, especially in the 1:1.43 aspect ratio, and that includes the many VFX shots, which, while they were the best I’ve ever seen, still benefited from this.”Posting Dune at FotoKem – a film lab still prospering in the digital era – was key to working out those methodologies. “We’d take it as far along in the DI as possible, then scan out to film and match it back,” Cole adds. “The negative was not a printing stock. It was a nonprintable digital negative, optimized for this specific process, and used as a data storage device. Scanning it back in afterward used scientific procedural processes to bring the image back into ARRI’s Log-C world. I had to employ the same lookup tables used for the creative DI. This also accounts for all the film quirks, and matches that procedurally; and I’d do a trim pass after that, just for a final polish, the last two percent.”" I guess this explains why it doesn't feel like a filmout to me though I only saw the trailers in Pro Res quality. They really went for a specific look. By the way, they tested 35mm film (too grainy they say 😄 and a problem since they had a bunch of IMAX formatted footage planned) and 65mm film that apparently had issues with the grit and sand. Villeneuve thought film was too nostalgic too? What a bummer.
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