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Manu Delpech

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Manu Delpech last won the day on October 10

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About Manu Delpech

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  1. 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.
  2. 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.
  3. I did. It's to capture the facial performance, the performance itself, otherwise there is nothing to work from. It's similar to performance capture.
  4. There is a lot of coverage on the film out there, but basically, the two Alexa Mini witness cameras capture the depth and the tracking marks on the faces track the actors' performance. The Red Helium in the middle used as main camera. There was also a specific type of lighting rig, I don't remember the name of it to aid with the VFX capture. What Scorsese didn't want was the kind of performance capture rig you usually see with the helmet, the cameras in front of your face, etc.
  5. Yedlin has this theory that format doesn't matter and he achieves the look based on color timing, formulas that he developed himself. I never bought his spiel but I must say Knives Out looks pretty convincing although I knew from the trailers it was digital. The Last Jedi was shot mainly on film, but you could tell where the Alexa was used as well although it matched well overall. There's an article about it: https://www.studiodaily.com/2019/11/steve-yedlin-asc-controlling-look-knives-out/
  6. They also had to use a three camera array (one Red Helium, two Alexa Minis as witness cams) for all the deaged portions and sometimes had up to nine cameras per scene, meaning 9 focus pullers obviously.
  7. It cost 159 million because, first of all, the deaging is extremely costly (and half of the film features fully deaged Pesci, De Niro and Pacino), there is also an enormous amount of sets, locations. The money is all there on the screen. @Phil: you're being ironic I'm guessing but anything involving deaging HAD to be shot digitally, it was Pablo Herman (ILM)'s demand. Anything else (basically half as Prieto said, he had it checked in editorial) is 35mm film, so that also means any inserts, 2nd unit stuff.
  8. Absolute masterpiece, De Niro, Pesci, Pacino all at the top of their game, amazing supporting cast, INSANE VFX work by ILM, fantastic script, Prieto's work is exquisite on every level. I've rarely seen digital (especially with the Red Helium) match this well with film, although as Rodrigo said in a one hour discussion recently, he could feel which shots (anything not involving deaging) in the edit were film because they just felt different and yeah, the digital matches beautifully but I could just feel when it was 35mm, and obviously after the deaging transitions to regular to no makeup at first, it's all film. A stunning film truly with such a raw power. I hope Criterion (who's releasing Roma) releases this on Blu Ray, this deserves it.
  9. Gregory Irwin told me they used the LF only for steadicam since it's considerably lighter than the A65 (and they have the Mini now) and the Mini for small spaces where they can't fit the larger cameras.
  10. Netflix is warming up to celluloid nowadays. Baumbach shot Marriage Story on 35mm, Jonze shot the Ansari special on 16mm and Prieto and Scorsese shot half of The Irishman on film (everything involving deaging had to be shot digitally). Prieto even says that Netflix initially said "we don't do celluloid film" LOL, and it turns out they were fine with it.
  11. Speaking of S35 on Alexa LF, there's some dope coverage on Sasaki adaptating C-series anamorphics to cover the full Alexa LF sensor for Phedon Papamichael on Ford V Ferrari.
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