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Manu Delpech

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Everything posted by Manu Delpech

  1. Manu Delpech
    Sorry KH, I didn't remember where I saw the article ! Awesome to see the article so early too, great one.
  2. Manu Delpech
    To be honest, your post is so long that I didn't read everything, but there's an AC article this month (and another one available online, and it's been there for a few months). The main format on this bad boy is 35mm, super 16 for some scenes, and Alexa on the night stuff and some smaller ones for other stuff.. Ackroyd obviously wanted to shoot the whole thing on film, but he said that the second unit guys DEMANDED the use of Alexa on the big action scenes taking place at night, namely the Las Vegas set piece, because they had multiple cameras flying around and they wanted the live playback to see exactly what they had. If I'm remembering this correctly, he said that in the DI, they made sure to take the digital footage and treat it exactly as they would the film footage, ie through a film color space or something like that and making it as seamless as possible.
  3. Manu Delpech
    Ouch.
  4. Manu Delpech
    Orange Is The New Black was shooting on Alexa, until they had to make the switch to Varicam 35 because Netflix asked for the 4K deliverable. They didn't fail, like you said, it is your opinion, I've seen mostly nothing but praise about the cinematography, so I guess if you're really tuned into the Red vs Alexa= Alexa looks better thingy, it'll bother you, otherwise, nope. But considering the Duffer brothers talked about adding some of that "80s grain" in the DI, I have no doubt they would have loved to shoot film if possible, it probably wasn't even an option. For the effects, did you participate in the production? I don't understand how you can make statements like these, a lot of stuff in the show is practical, the CG for the "thingy" like they said was because ultimately there's limits to what a guy in a suit can do or what you can practically do.
  5. Manu Delpech
    I don't see how the same thing shot on Alexa would have had a "soul". I get that the Dragon looks more digital than say an Alexa, but it's a look that's different. I don't think it would have looked better on the Alexa which also looks super digital imo most of the time. The upside down is stunning to look at imo, especially (without spoiling) the all black in between. And those blacks ARE inky black on my projector (JVC though, but still). Didn't say the source had to be digital anyway, but clearly, there's a reason why all the Netflix original content is shot digitally, you'd think someone would have shot on film by now. Anyway, it seems once again you know better than everyone with your 'they could have done ALL of the effects practical without much effort".
  6. Manu Delpech
    I have no idea what the problem is that some people are having with the RED Dragon. Otherwise, the CG effects are actually practical for the head, the rest is CG, the truck flipping for example: real as well. And of course they were going to shoot Red, they need a 4K deliverable (native), and film was without a doubt not an option. Watching it projected on a 100 inch screen, it looks top notch.
  7. Manu Delpech
    There's a heavy VFX element to the article as well, pretty good one. The Barco Vision trailer looks like it could be spectacular (even if only for a couple of scenes)
  8. Manu Delpech
    According to the AC article, they did add film grain to make it closer to ST and STID, although I feel the difference is pretty big.
  9. Manu Delpech
    Interesting comments, I love how cinematic it is, the Duffer brothers said they wanted sort of that 80s grain so they had their colorist add some grain in post. I think for me it's the show with the best cinematography I've seen so far, and that includes Breaking Bad, Mr Robot, True Detective (S1), Boardwalk Empire, Daredevil, House Of Cards, etc. The dark setpieces, you mean the Upside Down? because I've never seen something so cinematic in a tv series before, looks gorgeous. The flashbacks in the facility are striking too. Red does have a different look than the Alexa, I like the Alexa (although film destroys both, plus Alexa no native 4K, that's why), but I feel the Red has a more interesting & grittier texture, it feels more interesting to me, does it look digital? yeah, so does the Alexa. I don't think film was ever an option, you'd think with the 4K deliverable, they could shoot on film and do a 4K scan but I guess no one thinks about it. They really nailed the 80s settings. Season 2 is supposed to be a go (if not, soon !), and the Duffer bros said they have much more to explore, same characters.
  10. Manu Delpech
    What a great first season and tease for the second one. Massive Goonies feel to it too overall.
  11. Manu Delpech
    There are a lot of nods throughout the series, wait for it. It's more Stephen King overall, but really it's a mash of everything. The kids are extraordinary in the show. The lighting is insane in some of the later episodes (namely 5 and 6), still got two more to go. Tim didn't give me any specifics, I'd say Summilux based on the look, they clearly added some film grain in post which was especially apparent to me in some flashback sequences, I think it makes a big difference.
  12. Manu Delpech
    Your opinion but having seen 4 episodes, I feel it totally transcends those influences and stands on its own.
  13. Manu Delpech
    Surprised to see no one talking about it. This is a new show by The Duffer Brothers (who directed an indie thriller Hidden, and wrote a couple of episodes of the first season of Wayward Pines) on Netflix. It starts Winona Ryder, David Harbour (who's everywhere these days ^^), Matthew Modine and a bunch of wonderful kid actors y'all be hearing about soon enough. It's set in the 80's, and basically, it's a mashup of everything you love if you're into that stuff, meaning it has elements of sci-fi mode Spielberg, ala E.T, Super 8, Stephen King, you got a group of kids, one of them disappearing, a weird girl in a hospital gown that runs into them and is special, you got the kids on bikes, you got the heavy sci-fi element, the mystery element, the supernatural element, the great soundtrack with a heavy synth score, wonderful cinematography and you get a not to miss show. Tim Ives (Mr Robot pilot) shot the hell out of it, it's basically a series that looks like it cost much more than it probably did, extremely high production values, fantastic cinematography, shot on Red Dragon and Leica lenses (confirmed to me by Tim Ives). Binge it, embrace it, love it.
  14. Manu Delpech
    It's a musical. Knew it was going to be wonderful stuff. Try doing that on digital.
  15. Manu Delpech
    Kind of.
  16. Manu Delpech
    I very much like your idea David of letting the visuals speak for themselves, I often find myself at first being overexplanatory with too much exposition, then cutting back, and back, till there's basically little dialogue left and it's told visually, it's more interesting. But I think like Satsuki says that the director doesn't necessarily always trust the audience to get it, sometimes it's the right call, not everyone is going to be paying attention to every single frame and its function within the storytelling, so you have that redundant aspect of having that nice little exposition heavy dialogue or explanatory dialogue to go along with it.
  17. Manu Delpech
    Sad to hear.
  18. Manu Delpech
    So much condescension and bitterness in this thread, I feel like I'm going to throw up. Richard, all due respect, before defecating all over Spielberg, his movies, or the industry in general, should we take a pause and acknowledge that the scale you work on (and I'm really being respectful here) is obviously nothing like theirs?! And mocking the BFG's box office result, what? See the movie and understand why it cost 140 million. Not only is the movie very good, but it's practically a full VFX, performance capture driven movie, the first 10 min are live action, 3 or 4 min in the middle of the movie, the location plates in Scotland, the scenes in the third act at the Queen's residence, about 15 min and that's it. The rest is blue screen, more blue screen, Mark Rylance in full mocap getup, same for the other actors portraying the giants, plus they had to solve a ton of scale issues to make sure that the eyelines between Sophie and the BFG were right. The money is on the screen, simple as that.
  19. Manu Delpech
    The film vs digital debate will never stop, unless someone somehow comes up with a kind of film/digital hybrid that allows you to bypass the film process or whatever. They need to make more of those (super expensive) mobile film labs, that's the dream, having the lab right next to the set, getting your dailies right here & then, the dream. I do find though regarding what Tyler is saying, that film inherently has more life to it, when similar shots shot digitally would look quite dull and boring.
  20. Manu Delpech
    Masanobu talked about it in an article somewhere, and him and McCarthy were very aware of the fact that they weren't going to be flashy, that restraint was the key word here, it doesn't look like much but it's great work.
  21. Manu Delpech
    Nothing about it, which is surprising, but I have no doubt Steven and Janusz and going to be shooting film on Ready Player One (which is shooting right now), and his next two films. Spielberg in an interview about Bridge Of Spies said something like "shooting on film, and I mean film kids, not digital", so yeah, it's easy to understand why they shot the BFG on the Alexa. I saw it yday, and basically, the first ten minutes are live action and all the rest of the movie except for the scenes at the Queen's residence and a few shots at Sophie's orphanage is full CG land with Sophie and probably location plates being real. You can see the behind the scenes on Youtube, I don't see how Steven & Janusz could have shot the BFG on film considering it's performance capture heavy with Mark Rylance, with the scale variations, and all the VFX, being able to see all that live on monitors (like we often see in the b roll) is really a huge benefit here. Film wasn't an option really.
  22. Manu Delpech
    Who cares if nobody else cares. Just because 99 % of the audience has no idea that the movie they're watching is shot on digital or film doesn't make it a reason for you not to shoot film. I know myself that film is what I love, not digital, I can't find the magic in the latter, film is what speaks to me, and even if no one else cared, I do care, that's the most important thing.
  23. Manu Delpech
    I have it on BR and I'm pretty sure 95 % of it is shot on the Alexa. Really disappointing, they probably left the film footage on the cutting floor, it looks so clean, yuck.
  24. Manu Delpech
    The Alexa does have a more pleasant image but the Dragon looks pretty damn stunning on Mr Robot for example, looks very good on X-Men Apocalypse as well, or Room, Daredevil, House Of Cards, 11.22.63, Straight Outta Compton, Fincher's films and Blomkamp's as well. The color science is Light Iron's though, so that'll be interesting to see.
  25. Manu Delpech
    The look of the film, the F65 look added to the enjoyment of the film for me because it's different, and spectacular between Storaro's hands. I'd say by principle that period stuff should be shot on film, but it can work sometimes.
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