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Manu Delpech

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Manu Delpech last won the day on October 10 2019

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About Manu Delpech

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    Director
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    France

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  1. There are three big pans in the film that were painful to see in laser IMAX, everything else looks great but the judder was some of the worst I've ever seen, dat 24 fps !
  2. Really fantastic work by Deakins, and the whole camera department, can't imagine the complexity of it, got a taste in behind the scenes videos but not enough ! It's not among his most interesting work as, as he said, he couldn't light many of the exteriors (they only shot during cloudy weather, and obviously the one take aspect precluded classic lighting), but technically, it's insane. The flare scene is a standout, and super inspired. Saw it in IMAX too and I can't imagine seeing it in a 2.40 AR although it's Deakins' preferred aspect ratio, the 1.9 AR really works well. Like all oner movies, there's an inherent distraction to it, that calls attention to it, but I wonder if it would be as immersive and tense if shot and edited traditionally. Maybe, maybe not. The flare scene and the rapids descent all the way to the battlefield are the standouts. The Alexa LF looks pretty great, although it's no 35mm obviously ^^
  3. 159M. The main producers were really Jane Rosenthal, De Niro and Emma Tillinger Koskoff, I'm guessing the other people are part Netflix folks and part people who were involved in the project throughout the years since 2006.
  4. JARIN JUST GOT AN OSCAR NOMINATION !!!!!! CONGRATS !
  5. How can you think it's shot digitally? 😄 Comes out on Netflix on the January 31 in many OS territories.
  6. Finally got to see it, astounding work Jarin. This has gotta be one of the most original, striking films that's out there. Seriously, this is like finding a relic from an unknown time and place. I'm usually not into B&W at all but this begged for it, every single shot is super interesting to look at, moody (love the contrast, the blacks), atmospheric, so authentic, so deliciously grainy. This is real B&W, the aspect ratio makes total sense as well. Stunning. P.S: Excellent work on Servant as well @Jarin Blaschke
  7. The inexplicable thing is that the film got a Silver Frog at Camerimage for its cinematography.
  8. Excellent work as always on S3. I think this was mentioned before in an article on S1 but I'm not sure. David, have you guys ever discussed adding grain to the image?
  9. It's just the look of it. Since it's Fraser (and Baz Idoine, works a lot of 2nd unit for Fraser) who established the look, there are definite similarities with his work on Rogue One, more underexposed, moody.
  10. Saw the prologue in laser IMAX, looked good but underwhelming. The trailer is much much better. There's nothing like 65mm 15 perf truly.
  11. Well, the Marvel shows should show up next year and in 2021, I doubt there'll be that much of a drop. According to current breakdowns, what most people are watching on Disney + are the classics.
  12. Fantastic film top to bottom, Driver and Johansson at the top of their game, BEAUTIFULLY shot by Robbie Ryan. I'm glad Netflix is letting directors (or select directors?) shoot on film now, this made such a huge difference on this film. Baumbach usually shoots on film (Meyerowitz, his latest before that, was 16mm), he said he tried digital on the three films prior to The Meyerowitz Stories and he just had to go back to film, digital doesn't have the same meaning to him.
  13. It really seems like it helps a lot (from what I've read) in making it look closer to actual film. Some have gone as far as actually shooting digitally, out to film print, and then scanning that print.
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