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Manu Delpech

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Manu Delpech last won the day on May 7 2017

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  1. Once again, Olivares was announced a long time ago but it turns out it was probably a misunderstanding as Olivares worked on the film as a camera operator and cinematography collaborator, which is a title I've never seen before but it's clear he was an important presence on the film but I'm not surprised that some are immediately doubting that Cuaron had anything to do with it, it's not as if he worked as a cinematographer early in his career...
  2. UHD BD players for sure but BD players completely?
  3. Zodiac has ONE shot if I'm not mistaken which is when Graysmith goes to see Paul Avery on his boat. It's a pan left to right, day time, smeary, then again, it was the Viper. There might be others but this one stuck with me. Otherwise, I haven't seen Gone Girl, TSN in a while but I don't think there was in those. We're not talking limitations of the sensors, either they didn't have enough light or it was another technical consideration. But trust me, it's there but most films I see that are shot digitally rarely have it. And there is, it's usually isolated to a handful of shots
  4. No, it's not the way I'm viewing a trailer, the examples I've cited are real, in theaters and on Blu Ray. You can check it out yourself or maybe you somehow don't notice it.
  5. Not necessarily poor lighting, Ben Is Back has a 13 million budget, maybe they couldn't afford as much equipment as they needed for some of the night stuff, I don't know?! Or it's a weird stylistic choice. There are quite a few times on modern movies (happens more on TV though, whether it's Red or Alexa) where that ugliness is present and I wonder why "were they lazy?", "stylistic choice?", "they didn't have time to light it?". Who knows. I NEVER called anyone incompetent. Also, yeah, Dryburgh is a great DP, doesn't mean everything he does is going to be great either. I'm thinking of examples and there are probably reasons for all of it: Life Of Pi exhibits that motion blur several times in daytime and night time situations, probably requirements because of 3D or certain technical aspects of the film. Mr Robot on TV has a handful of moments in the first episode if I remember correctly, daytime interior. (Red Dragon on that one), Birdman has it (night time exterior on the roof, Ed Norton and Emma Stone chatting), X-Men: Days Of Future Past has quite a bit of it, in daytime situations especially, Captain America: The First Avenger has it from time to time (but most of it is shot on the Genesis, so that makes sense), there are more examples everywhere but I'm too lazy to keep looking :D
  6. Several films this year should have been nominated for Best Cinematography. I wish ASIB had taken it on this one.
  7. Blackhat is shot on the Alexa and has the same type of smeary motion blur that Collateral and Miami Vice (and Public Enemies) have. But as Stuart says, it was obviously more of a limitation at the time. Maybe Mann likes it? Although he said he was probably coming back to film for his Enzo Ferrari film before he left the project (James Mangold directed instead). Ben Is Back is another example lately, I've just seen the trailer but the night stuff in the trailer looks horrendous and it's filled with it. Logan also has it when Charles is having his seizures, they used a 358 degree shutter angle for those scenes.
  8. Are we talking about the digitally ugly smeary motion blur? Because I have rarely seen it on Alexa shot movies. Sometimes it works, when Mann does it on Collateral or Miami Vice or Blackhat for example, but it really takes me out otherwise when it happens. I mean, you know it's digital, but then some shots have it and it's unmistakable.
  9. Is it okay to find the F55 ugly looking in everything I saw that was shot on it? I find it looks very videoey for some reason most of the time. Vinyl looked good but they used that special LiveGrain sauce to make it feel better. Ah and yes The Homesman's night sequences were F55 too, Prieto using it here before Vinyl. The F65 though, same deal, the only films that made it look really good are Cafe Society and Miranda's work with Joe Kosinski on Oblivion and Only The Brave. The F35 on Tron Legacy (Miranda and Kosinski once again) looked great, I think it had actually more flavor to it than most digital cameras these days. Miranda and Kosinski are working with the Venice on Top Gun 2, I don't know what it is but Miranda really does wonder with Sony cameras just like he did with the Viper on The Curious Case Of Benjamin Button or the Alexa on Life Of Pi.
  10. Thank god, Soderbergh is returning to regular digital cameras for the Laundromat, don't remember where but I saw an article the other day where he says the film mixes several aspect ratios, styles, etc. High Flying Bird looks so ugly, I like the film and Soderbergh insists the film couldn't have been made the way it was, at the speed it was (12 days) any other way but it's still so distracting and electronic looking.
  11. Which is pretty much the entire film from every info I could find about the cinematography (and watching the film obviously), the interviews are digital.
  12. Bingo, I'm sure JJ will bring it home but I think TLJ is a masterpiece. There's nothing worse than your film being met with a collective shrug, sometimes, being bold and controversial pays off and is more interesting. I also think of certain superhero films that many people supposedly hate and yet keep talking about to this day, hem hem :D
  13. Just got it on BD and it's like I'm rediscovering the film after seeing it on Itunes. It's super impressive how well the super 16 on this film holds up on the big screen, I've been surprised by 16mm before on things like One Tree Hill, Steve Jobs but I still am.
  14. I'll repost what I posted on the previous page. Yeah I was gonna post this. Also, that beach scene? It's stitched together :D Take the bravura extended tracking shot when the family's housekeeper, Cleo (Yalitza Aparicio), watches the family's kids at the beach as they charge into the water, then rushes into the pounding waves when two of the smaller children appear to be struggling. Cuaron presents the sequence as if it is one uninterrupted shot. But to achieve that appearance, several shots had to be stitched together and the whole setting digitally manipulated. "We ended up extending the shot by putting in a new middle section from other takes," explains Griffiths, "enhancing the drama and danger." In effect, Cuaron, who served as his own cinematographer, was following in the footsteps of his frequent cinematographer, Emmanuel "Chivo" Lubezki, who won an Oscar for shooting 2014's Birdman as if the entire movie were filmed in one continuous take. In that case, Lubezki was able to use doorways and backstage passages to disguise where some of the shots were stitched together. The challenge in Roma's beach scene was that all the shots of sea, sky and sand had to be flawlessly matched to make the manufactured tracking shot convincing. Several different takes of Cleo rescuing the children were involved, and some takes of the children were repositioned. Certain views of the sky also were replaced. "The time of day was different, so we had to match up and grade the actual water and reflection — it was a tricky shot," acknowledges Griffiths. Cuaron also requested that the height of the water be adjusted so that it would look deeper. "So there was a lot of work to do in compositing in that section," he adds, "and then at the end of the shot, we cut back to the original take." https://www.hollywoo...equence-1169264 The film is filled with VFX, still great though and flawless CG work
  15. Not to mention that Cuaron worked as a DP when he started
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