Manu Delpech

That presentation is 4K (although the movie goes down from 120 to 60, and 4K to 2K within the movie (for emotional purposes) ) god, I wish I could see it that way but only the AMC Lincoln Center in NY, Arclight in LA and three in Asia can show it that way, that + Sony didn't go for a wide HFR release, they have 7 versions of it, but it seems the tepid reaction in NYFF scared them, and according to Film-tech, they didn't put the infrastructure in place in time, so basically, there will be the 4K 120 fps 3D version, a 2K 120 fps 3D Dolby Vision version in some select Dolby Cinemas and 2D 24 fps for everyone else. China has also the 3D 60 fps version, and hopefully there will be more HFR shows overseas. Ang took a lot of flak for this but he's incredibly brave for having done this, it's clearly not for everyone, he said he's still learning, what works, what doesn't work, he hoped it would be a home run but knows that it's too jarring at first, he's planning to shoot Thrilla In Manila (Ali vs Frazier) in the same format, hoping Sony & Studio 8 will let him do that. He really got f***** here by Sony, it's a shame most people will see it in 2D 24 fps, although probably best, the bad publicity did a lot of harm. I know that UHD Blu Ray can display 4K at 60 fps, so maybe we could get a HFR home release?!

Aronofsky shot his latest on 16mm, confirmed yesterday, starring J Law, Javier Bardem, Ed Harris, etc, he said they used digital cameras for the last day of shooting for CGI heavy sequences.

Second episode is fantastic. Available early on HBO, HBOGo, etc.

The pilot is great, plenty of possibilities. Looks gorgeous too, shot on film entirely, huge production values, there's an online exclusive in this month's AC issue, it says David Mullen also did some additional photography on it. Jonathan Nolan says they have a plan for 5 seasons approximately.

Phew, saw this yday, absolutely superb. Granted, this imo doesn't have as much replay value as The Place Beyond The Pines which is one of my all time favorites, and this is because Pines has a unique feel, plus its story, the three acts, the cinematography, everything whereas TLBO is much slower, takes place during early 20th century, and there is much less plot to the movie than there is to Pines. I'm surprised the critics were mixed, I guess it's really a matter, kinda like with Valentine or Pines of the movie connecting with you or not, Cianfrance said he tried not to judge the characters and ultimately, some people will probably not like the movie because of the story and the characters' decisions. I felt it was all quite realistic anyway, and thought all the right notes were hit, and could clearly map out why they did what they did. Fassbender has never been better except in Steve Jobs imo, same for Alicia Vikander, the locations in New Zealand are just breathtaking, and Arkapaw's cinematography took my breath away many times, just totally arresting landscape shots, the Alexa has rarely looked this good, I do wish they had shot on film, would have looked even better, but like I said, probably wasn't a lab around, they were pretty far away, Derek probably felt digital was the way to go for practical reasons. I know they used LiveGrain on it, but felt it was really subtle compared to Vinyl, feel like they could have gotten the same result just applying normal grain in the DI, it added some texture but not that much, probably to get it closer to the look Derek wanted. Very impressionistic indeed, I like the bloomy quality in some interior scenes with the slightly blown out windows, and all the exterior stuff, the sun setting, that gorgeous light more than once & the anamorphic glass, yes yes yes ! Superb movie. The next Cianfrance one is called Empire Of The Summer Moon, he said it'd be a big, epic movie: Quanah Parker and the Rise and Fall of the Comanches, the Most Powerful Indian Tribe in American History, S.C. Gwynne‘s book about the last great Comanche chief, Quanah Parker.

What I've heard from someone who's in the know (don't want to get anyone in trouble :D ) and sort of confirmed to me by Steve Bellamy is that mid december seems more likely than anything.

I've been asking all around on Twitter, Steve Bellamy keeps telling me very soon, in autumn, but nothing so far.

Watched the pilot today, very solid work David ! The pilot itself is solid, very cool premise, I've always been a huge 24 fan but I don't think of Jack Bauer at all here, which is good, Kiefer is great as always. Let's see how the rest of the season shapes up, I hope he doesn't get too comfortable quickly considering he's basically an ordinary man thrown into this extraordinary situation and not really knowing what he's doing.

You never disappoint.

Tyler, please, not again with the "CG IS BAD" rant, let's keep this thread clean, speak of the movie if someone cares about it, or about the look of the film.

http://movietrailers.apple.com/movies/sony_pictures/passengers/passengers-trailer-1_h1080p.mov Trailer came out today, releases same day as Rogue One. Sci-fi pic about a man & a woman waking up 90 years too early on a spaceship, and everything that ensues. Morten Tyldum (The Imitation Game) is directing and the Black List script has been around since 2007, written by Jon Spaihts (early drafts of Prometheus, Doctor Strange), Keanu Reeves was attached for a while, so were Emily Blunt, Rachel McAdams, etc. Rodrigo Prieto shot this on Alexa 65 & Primo 70 (at least, that's what IMDB says, the Alexa 65 stuff is 100 % true though). This is definitely, along with Live By Night, some of the best Alexa 65 footage I've seen, Prieto is a great great DP, looks cool. On an unrelated subject, I was wondering. At about 10K a day for Alexa 65 + optics + Codex Vault 65 rental, how do these big productions (like Assassin's Creed, Live By Night, etc) justify shooting on Alexa 65? It'd be much cheaper to shoot on film, hell, maybe 65mm would be cheaper than Alexa 65, I don't really get it, not to mention the insane logistics that must be involved in processing the footage, and that kind of data. Maybe the 6K rez is great for the VFX people, but it's not like anamorphic 35mm is that far off.

:-) The head of the monster is practical, it's not CG. They used a guy in a suit for most of it, but for some shots, they had to go CG because the guy couldn't do what was required movement wise. I remember the Duffer bros saying they had to deliver the episodes and that the VFX guys were working as fast as possible to get it done, so that might explain the couple of off shots, but to be honest, imo, there are like two or three CG shots that stand out as slightly iffy. The monster looks terrific up close in its very last scene (so does the rest of the VFX work, ie Upside Down)

You can find great looking 50 ASA 16mm footage online, but it still doesn't compare to 2 perf 35mm. It's not even really a budgeting issue, 2 perf 35mm is barely more expensive.

It still doesn't have the definition of 35. Super 16 is really soft, in the best conditions, it can be crisper but still super soft compared to 2 perf 35mm.

The digital smear motion blur is really an ugly artifact, it usually rears its head on night footage.

Major releases, not "big" movies.

Not surprised, and yeah, ILM for example was really happy they shot on anamorphic 35mm for The Force Awakens as it allows them a lot of flexibility. I just feel super 16 is not sophisticated enough, it has a raw beauty to it, but it's too dirty for me.

I'm just saying what it looks like to me. Fargo doesn't look flat imo (although it would look better shot on film instead of shooting Alexa and adding grain). I get what you mean, it's just that flat, boring visuals are not appealing to me.

Come on. A 200 million DC/WB movie shot on super 16? Super 16 imo is great for indie features, or for specific situations, ie the first act in Steve Jobs, or to replicate the feeling of the 60s in Love & Mercy, that kind of thing, was also used a little in Jason Bourne although I didn't see it, but used as the main format on a big movie? Nah. Doug Liman (and Vasyanov, Suicide Squad's DP) shot The Wall for Amazon completely on super 16, but that's not a big budget, and it's basically a cat and mouse shootout between two snipers. Unless you mean shooting parts of it on super 16, but that would be too jarring imo, the grain on super 16 is just so thick and intrusive, and its aesthetic is incredibly specific, that's why I think it's used so little overall. 2 perf is not that much more expensive and is something else.

It might look lovely to you, my opinion shouldn't influence yours so easily. It just looks bland to me, like most of his films (with the exception of Manhattan, and Café Society I'd say, Magic In The Moonlight as well), Allen has never really had an eye, this just looks to me like typical middle of the road, pedestrian TV digital cinematography, which is to say, uninspired, flat, boring.

It's obviously digital, imo, it looks quite ugly.

Ben Affleck's latest film, adapted from Dennis Lehane's Live By Night, taking place at first during the prohibition, and then over several decades if I'm correct. Shot by Robert Richardson mainly on the Alexa 65 (and Super Panavision 70 lenses) it seems, but I remember reading they used film & digital (some guy said that he saw them prepping film and digital cameras at Panavision), anyone close to the production knows anything about this? The first shot in the trailer definitely looks like film to me, and maybe a few other shots in the trailer. Looks beautiful. http://movietrailers.apple.com/movies/wb/live-by-night/live-by-night-trailer-1_h1080p.mov

I had no idea :D I knew he was a DP first, but damn.

It was shot indeed in New Zealand. Just looks gorgeous, just bummed they didn't shoot on film like Cianfrance's first two films (although Blue Valentine is shot on Red also), I guess there wasn't a lab close to where they were shooting. Didn't see the film yet, the critics are mixed on it, it just connects with some and not with others, I think it looks beautiful. A shame there's no writeup on it in AC or anything else. They shot on G anamorphics.

World premiere during the NYFF festival, AMC Lincoln Theater which will be fully 4K 120 fps 3D equipped for the screening. http://www.hollywoodreporter.com/news/ang-lees-billy-lynns-long-921452 Only 300 seats.