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Manu Delpech

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  1. Manu Delpech
    Woosh ! :D I sent an email to one of the people down in Atlanta, out of curiosity. I was watching on YT an Arri presentation where they showed some footage + talked about the upcoming movies shooting on it, it was posted in september and they said they had 30 bodies it seems. Rogue One is using 3, with 7 on certain sequences, Assassin's Creed is using 3, etc, etc.
  2. Manu Delpech
    Yep, they pretty much say it's only available through Arri Rental, I can't call since I'm not in any country that has an Arri Rental facility, I just wanted to know if anybody knows specifically.
  3. Manu Delpech
    I've seen that you can only rent the Alexa 65 through their Arri Rental network. Out of curiosity, does anyone know what the rental costs are? I'm thinking they must be ginormous right now, but i'm really wondering.
  4. Manu Delpech
    I think that if you sit far away from your screen, you won't be able to tell the difference, unless it's a big screen, you really need a big screen, and not be too far away (obviously, duh :D ), or home theater setup with projector and 120 inches + screen. I love watching movies on my 120 inch screen, but I also love sitting really close to my computer screen from time to time and watching movies shot on film, so I really get the texture up close.
  5. Manu Delpech
    The movie has ONE sequence shot on IMAX, I don't really see the point of seeing it on 70 MM IMAX if possible (although it'd be cool), plus, the movie was shot on 35 mm, how good can a 70 MM IMAX print really look ? (I'm seriously asking, it's going to be a blow up, so I'm curious)
  6. Manu Delpech
    Speaking of which, any ideas which gels specifically did Debie use on Spring Breakers? same thing for Lost River?! There was a tiny article on Spring Breakers in AC but he just talked about the polarizers as Matthew said.
  7. Manu Delpech
    From the article: Dan Sasaki speaking: "The fact that the Primo 70s performed well at T2 was very important to Hoyte. He was happy with the way the lenses handled flares and random glare during his initial tests but he was shooting down the Thames where he didn't have control of all the lights, and he didn't want any unforeseen surprises showing up. So we did another battery of tests to look at the flare and glare, and that was another factor that prompted a change in the coatings to a much higher tolerance than we originally had." To be frank, they barely talk about the use of the Alexa 65 in the AC article, this is from a sidebar with only Sasaki speaking, it just says at the beginning: ".... a nocturnal boat chase along miles of the Thames riverfront in London, for reasons of exposure, the latter was shot with Panavision's new Primo 70s on Arri's new Alexa 65 digital camera." About the fill thingy, Hoyte says this: "We wanted to give the film a retro feeling, but that doesn't mean making a retro film. So we used very modern elements and technology, with a slightly old-fashioned "laid-backness". It's a mixture, a blending of both worlds. In general, I'm not big on fil. I love the idea of just putting the light source in the right place. There have Bond films in the past where his face is lit in the same meticulous way in different scenes: a 3/4 frontal with a little bit of fill. When you find the perfect light for a face all the time, you step away from reality. For this Bond I wanted close-ups to have different feels, and I also used different tools: Rifa-Lites, fluorescents, LED panels. I like to do dynamic close-ups, where the light on the faces changes because of the mise-en-scène." About the Thames epic lighting installation: "It's the biggest lighting setup I've ever done, and it might be one for The Guinness Book Of World Records ! It took five weeks to set up. My gaffer, David Smith, and his crew set up eight construction cranes and two floating pontoons on the Thames, plus dozens of other fixtures on the shore. We had 28 generators." Hoyte also notes he's done a 4K DI because he feels that if "you render grain in 2K, it turns into noise - some sort of digital interpretation of grain."
  8. Manu Delpech
    Per the November issue of AC, I understand why Hoyte would say he considers it a film project because it's basically 95 % film, and 5 % digital. They shot the Thames boat chase on the Alexa 65 with Primo 70s as he said because they were working with extremely low light levels but everything else was shot on film with Panavision C-Series lenses and also the Arri Master Anamorphics.
  9. Manu Delpech
    Beasts Of No Nation has just been released worldwide on Netflix today and will be in a few selected theaters in the US as well, I've seen it this morning and found it to be absolutely outstanding. Contrary to Fukunaga's previous projects (except his Sleepwalking In The Rift short shot on a 5D), this wasn't shot on film, but rather, as he said it in an interview on Hitfix, on the Alexa with Panavision C-series lenses, he talked about shooting it on super 16 at first, but there were no labs around and it would have taken a week for them to get the dailies back and it was just impossible, so he chose the Alexa. I wanted to know what you guys think about it, it looks absolutely gorgeous, very naturalistic, with those characteristic anamorphic flares, blue streaks, and barrel distortion, the Panavision anamorphic look, it also had some beautiful bloomy qualities on whites in one scene in particular, also, Fukunaga not only wrote and directed the movie, he also DPed and operated the camera himself as his camera operator pulled his hamstring one day in. Quite the astonishing feat ! See this movie.
  10. Manu Delpech
    Thanks you guys, I contacted Fotokem, and they told me this: There are two options: The first would be with FedEx and meeting their final drop off time to get the film you have exposed for the day back to our lab in Burbank for morning run develop. The second is to use a courier to pick when you wrap and get the exposed film one the last flight to LAX and then courier to FotoKem by mid nite for our night bath. Once film is developed we will transfer the film to the files you request and we can ftp or use our own software called globalDATA to get the files back to our office in New Orleans and we can lay your dailies off to a drive which you can pick up ~ So yeah, it's really fast. I looked up Cinefilm Lab, I'll look up Filmworkers, it's just that I'm naturally more inclined to go to Fotokem. Shooting will probably be 7 or 8 days, I wonder how much that would cost in shipping.
  11. Manu Delpech
    Hey guys, I've loved The Leftovers since season 1, but season 2 has just aired its second episode and I remain stunned by the cinematography, which is now done by Michael Grady (Todd McMullen for most of season 1). It's shot on the Alexa, but it looks SO distinct from everything and anything else I've seen shot on the Alexa, it feels like there's some kind of film grain added because there's a very real and vivid texture to the image, a real patina, the colors pop, but not in a harsh digital way, it doesn't look overly digital, it just really stands out, the lighting also looks beautiful, very colorful. I know they use Primos on this, but I wonder what anyone else think about this, any idea on the film grain or the look they're getting? I'm a film guy mainly, and the only stuff that impressed me on digital so far has been Skyfall, Prisoners, Sicario, A Most Violent Year (yet to see Selma, shot by Bradford Young as well), Drive, Elysium, The Social Network, Gone Girl, Her, Nightcrawler, The Revenant and The Leftovers.
  12. Manu Delpech
    Reading Kuchler's words on the decision to super 16, 35 and Alexa, yeah, it was all so well thought out, movie only comes out in January here, but I've been on it since the very first teaser, it looks so beautiful ! @ Kenny: just check the QT trailers, namely numero dos, I think it looks great, but keep in mind that Kuchler pushed the super 16, hence the grain is a bit more than it should be, I've seen really tight grained super 16 lately. From Indiewire, Kuchler speaking: "Working in 16mm was liberating for Küchler because it was so rough and light and retro cool. Not surprisingly, he used period practical lights but also made it look harsher for greater contrast. The second section shot on 35mm film is more polished but darker, in keeping with Jobs plotting his revenge against Apple (the cinematographer likens it to "The Godfather Part II" and "Citizen Kane"). And the digital gloss of the final section conveys eventual success and how Jobs learns to comfortably live within his own skin. "We didn't want Michael Fassbender to end up in darkness [all the time] so we had to be clever about choices and work out the logistics of where he would be and how you could help that, giving the actor the best means to perform," Küchler continued. However, for "the worst sacking in corporate history," he utilized darkness, heavy rain and wide angle lenses to emphasize the humiliation and lack of control for the ultimate control freak." Rest of the article for those interested: http://blogs.indiewire.com/thompsononhollywood/how-they-shot-steve-jobs-from-inside-out-with-three-different-looks-20151009
  13. Manu Delpech
    Thanks all for your answers, I'm still sticking with film for now, we'll see when we really get into it.
  14. Manu Delpech
    Thanks for the info. I thought about Alpha Grip, but my short will be probably around a 40-50 K budget, I highly doubt it's justifiable there.
  15. Manu Delpech
    I actually found your lab after looking all over Kodak, but couldnt edit my post. Tried sending you a PM, but it doesn't work, I'll just put it here: I've seen that you're processing The Walking Dead, so yeah, no doubt that you must be a quality lab. I'm still uneasy with the notion of sending the film cans away, and having to wait a few days to have dailies. There's another lab in Atlanta, and they indicate 4 DAYS via UPS from NOLA to Atlanta, and 4 days back, I don't know what your turnaround times are, but unless it's something like sending the film cans at the end of the day and getting dailies online (or on a server or something) the next day or the day after, I don't think I can take the risk. I really want to shoot film but looking at the Alexa (that can look great, no doubt, and with a nice film-based LUT (with Fotokem there in NOLA), it would probably work just fine, but still, the Alexa is not film, it's just not. Still, I find the idea of having the convenience, the direct availability, feedback, and peace of mind of digital pretty reassuring.
  16. Manu Delpech
    Thanks for the info, I looked it up late last night and I'm floored, there's only Cinelab, Fotokem and Company 3 basically, THAT'S IT ! This is unbelievable, I looked up some of the latest movies shot on film like Black Mass, and for example, that one had its film dailies done at Deluxe New York, but they closed..... So yeah, for the US, that's it, at least for the main big ones. I have to ask: most of the big movies, like for example lately, they shot most of The Big Short (Brad Pitt, Ryan Gosling, Christian Bale, Steve Carell, etc) in New Orleans, how do they handle the film dailies?! Do all those big movies ship the film cans via Fedex or have a guy deliver it directly (when possible) at Fotokem or Company 3?! I thought about the option maybe, but it scares the crap outta me to be shooting down in NOLA, on my first big thing, ship the film over, not having anything for two or three days, with an inherent risk there, what if the film gets flashed even if indicated it shouldn't be, what if it's lost, what if someone screws up?! Atlanta is like a one hour flight from NOLA, so this could be viable, but still not comfortable. Sigh....... Looks like it's going to be the Alexa, this is depressing, thank god Nolan, Tarantino, Scorsese, PT Anderson, JJ and all those guys are keeping those last two big labs and Kodak alive, we need more of those mobile film labs as well. You want to shoot film without being a big production? You better shoot close to Burbank and co.......
  17. Manu Delpech
    Hey everyone, I might shoot a short movie in New Orleans early next year and I want to shoot on film, super 16 or 2 perf 35 mm, and I saw that Cineworks over there had done the film dailies on 12 Years A Slave, Oldboy, etc, but when I saw no new film projects since then in their credits, I sort of wondered if they shut down their film lab and only do digital. I thought I was maybe pessimistic but one of the guys over there just told me they did shut down and only do digital because of lack of work. Great, I saw that Fotokem has a New Orleans office/lab, it says on their website that they do film dailies, all that, but it doesn't say anything about their NOLA based facility, I just sent them an email, but does anyone know if Fotokem NOLA does film dailies? If not, is there a film lab ANYWHERE in Louisiana or close to New Orleans or Baton Rouge, in that vicinity? If not, that would be a goddam shame, and I'm not really comfortable with shipping the film too far away or whatever since this is my first major thing, first time on film, it's important for me to shoot on film but I've been keeping in mind the Alexa, I kinda dread having to wait for a few days to get the film back, in case there's any f**** ups. Thanks !
  18. Manu Delpech
    Thanks, any info on lenses or anything? I was wondering if they shot anamorphic, I think I noticed some very slight barrel distortion on some shots, but not sure, or maybe Leica Summilux-C, no idea.
  19. Manu Delpech
    The great trailer for this bad boy came out yesterday and I was wondering if anyone had any info on the technical stuff for the movie. I love the look of the movie, looks like it's shot on the Alexa, but can't find any info anywhere. I know it's shot by Maryse Alberti who did The Wrestler. For those who don't know, the movie is directed by Fruitvale Station's Ryan Coogler, it's a personal project of his that he also wrote, following Adonis Johnson, an up and coming boxer, who turns out to be Apollo Creed's son, Rocky's best bud who died on the ring. Rocky becomes his trainer. The great Michael B.Jordan (Fruitvale Station, The Wire, Fantastic Four, Friday Night Lights) is playing Adonis. Here is a link: Apple: http://pdl.warnerbros.com/wbmovies/creed/trailer1/CREED_TRAILER_1_ONLINE-1080.mov YT:
  20. Manu Delpech
    Saw it in 2K digital, no focus issues whatsoever.
  21. Manu Delpech
    The 35 mm material suffering compared to 70 mm is totally normal, you're blowing up 35 mm to a crazy resolution, i remember seeing TDKR in IMAX digital, and even then, you could see a clear difference btw the 35 mm material & the IMAX sequences (aside from the aspect ratio), hell, I saw Interstellar in regular 2K digital (I believe) & even there, with everything cropped to 2:35, you see instantly the gain in clarity with the IMAX footage, I do love the feel of the first act though, so much texture & warmth, beautiful grain, Hoyte Van Hoytema really brought something here that I feel Pfister wouldn't have.
  22. Manu Delpech
    Of course, just saying.
  23. Manu Delpech
    You're totally right Giray. Skyfall & Prisoners look great, but kinda pale in comparison to some of his greatest work. Jesse James looks gorgeous, No Country For Old Men is a good one too.
  24. Manu Delpech
    Thank god, the Coens implied that ILD was going to be their last movie shot on film, praise the lord !
  25. Manu Delpech
    I have a personal preference for Moneyball, although BB, TDK & TDKR look fantastic. I think his work on Moneyball has been seriously overlooked, as said, I like how natural it looks, and it looks really great, notably that opening with Brad Pitt in the stands, gorgeous stuff.
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