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Manu Delpech

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Everything posted by Manu Delpech

  1. With Sam Levinson directing, seems likely indeed.
  2. Checked it out again in the highest quality one can find (Disney+) and it seems to clearly be another film out just like they did with S2E10 (FUBU). Though on that FUBU episode, they'd used the Amira in Super 16 mode and then had done a 16mm film out, so the texture was much more present, as well as Christian Sprenger (the DP back then) usually shooting at 1280 or 1600 to get more texture. Here, they clearly didn't use the Super 16 mode and it's a 35mm filmout, and it feels like they shot it cleaner from the start too. Looks pretty great, obviously quite different from what shooting on film would look like.
  3. Incredible episode indeed. Sam Levinson is madly talented.
  4. Season 2 is fantastic, superior to the first I feel.
  5. 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.
  6. 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.
  7. With a good connection, the grain is resolved really well on all streaming services I use. On regular broadcast though, it can suffer sometimes.
  8. I doubt Linus and Cary are pandering to the masses, nor is anyone shooting anamorphically really.
  9. 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.
  10. Excellent series, never saw the original. Isaac's best work to date and really well shot too.
  11. 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.
  12. 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.
  13. Yeah the Pro Res trailers just have the usual Alexa LF noise like grain. Honestly, no software is ever going to make it look nearly indistinguishable. Filmout is as close as it gets but it will always look different if you actually capture it on film. A lot of people won't be able to see the difference though.
  14. https://trailers.apple.com/trailers/apple/the-tragedy-of-macbeth/ Yeah, I'm surprised that Delbonnel is so hardcore digital now. He shot this on the Alexa LF, looks great of course, he was marveling about the camera on a podcast.
  15. @Gautam ValluriHave you seen Guava Island and the S2 finale of Atlanta? The filmouts are very impressive there and look unlike anything you can get by simply adding grain in post. As for Dune, I was astounded to read that because I've seen the two trailers in Pro Res quality and it just doesn't feel like a filmout at all. So either they didn't have it ready for the trailers or they printed on some kind of print stock which yields little results apparently. I remember reading David Sandberg saying they tried it on Shazam but the benefits were not there (so undoubtedly, they must have tried on print stock). You really need to print to actual camera stock.
  16. Hem, if you've watched The Matrix Revolutions (and remember the very ending), then the new look makes perfect sense. Anyway, looks absolutely fantastic. Also, using a YouTube link and saying how "blurry" and "smeary" it supposedly is.... https://thedigitaltheater.com/2021/09/10/the-matrix-resurrections-2021-trailer-1-1080p-hevc-10-bit-video/ Much less compression and much higher quality and actual texture. Nothing blurry or smeary about it.
  17. Bringing this thread back from the beyond but as anyone had film dailies processed at the NY Lab here? I see that obviously they've now processed high end projects like The Post, A Quiet Place, Succession, etc, but I'd like to know about the turnaround time for regular folks. It seems 2 to 3 days (!!!) turnaround in normal times depending on the workload, which is what it says on the rate sheet. I asked Tony Landano if it could be shorter during certain periods but didn't get an answer. Needless to say that it's far too long for me and a real bummer, so hopefully there's somehow a way to get it down to a day but maybe that's only for big productions?
  18. Christian Sprenger did it on Guava Island (shooting on the Alexa LF, there's an article on Filmmaker Magazine about it), the FUBU episode of Atlanta as well (where he shot in Super 16 mode on an Amira and then printed to film, scanned it). It looks unlike any digital film or footage that I've ever seen that tried somehow to make it look like film in post by adding grain or anything else. And it's not subtle at all, the results are really impressive. It obviously still looks different than something actually shot on film, but it's as close as it gets.
  19. Phenomenal work by Zack who shot it too. He shot practically the entire film on his Canon Dream Lens (50mm, 0.95). He said it was much more in focus than he expected. Also, another cool technical tidbit: Tig Notaro was not on set with any of the actors during principal photography. Another actor played the role and they ended up replacing him completely with Notaro who was shot separately against green screen over two weeks after the film was complete. Seamless. For people "complaining", it's such a different look than what we're used to and absolutely on purpose.
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