Manu Delpech

5 hours ago, Chris Burke said:

There is an overall narrative of the "kid" and the bounty on it's head. you are correct about the 30 minutes not being enough. Given how much they are spending, you would think there would be more. I also think they won't resolve anything in the given time left this season. Watch how Disney plus enrollment drops off a cliff come the new year. 

Well, the Marvel shows should show up next year and in 2021, I doubt there'll be that much of a drop. According to current breakdowns, what most people are watching on Disney + are the classics. 

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. 

Shot on 35mm too !

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.

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. 

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.

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/

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. 

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. 

What sync problem are you talking about Robin?!

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. 

3 hours ago, Robin R Probyn said:

But it seems this beginner combo, DoP and Dir ..dont know their arse from their elbow..  and the thing is out of sync.. I'll give it a miss..

?

THE IRISHMAN IS OUT ON NETFLIX AT LAST.

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.

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. 

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. 

Yeah but Greg explained to me months before the film was released that the early plan was 65mm indeed and explained why they couldn't shoot on film. We know all that. Sher literally saying that WB refused to shoot on 70mm is a complete contradiction of everything we know which is that Sher and Phillips decided 65mm film wasn't going to work. Obviously, saying that the studio vetoed it, is a whole other thing. 

Okay, Sher is now saying in an interview with Variety that he and Phillips planned to shoot on 70mm (guess he means 65mm 5 perf) but  that WB shot down the idea which really contradicts everything he, Phillips and Greg have said for a while. 

Disney + went online today and the first episode (and the second one this Friday) is available. It's a super promising debut, it looks fantastic, the production values are as high as it gets, VFX work top notch, you can feel it's Fraser behind the camera but it feels different from Rogue One at the same time, quite a naturalistic look to it. 

It's a shame it's tanking (although it only cost in the mid 20 million range), looking forward to seeing it. There's a piece on it in the next British Cinematographer magazine. 

I figured it was nonsense. The only way Quentin is shooting digital, if at all, if he's forced to do on a TV series (he mentioned lately he might make a spin off of Rick Dalton's series in the film), and lord knows, nobody would force him to shoot digital ever.

Who will shoot what on a Venice? Surely, we're not talking about Tarantino? 

So what? I love plenty of films shot digitally although all my favorites are all shot on film (which makes total sense). 

Shooting in New York, plus the Kodak NY lab kinda has great references between Spielberg and Scorsese ?

You never disappoint Tyler ? Anyway, your opinion is really, really in the minority there considering Scorsese is getting the best reviews of his entire career. 

You really have a really peculiar approach to film and I never can understand your point of view ?

 And yes, all the deaged stuff as I said was shot with the Red Helium (and two Alexa just for VFX to capture depth), and Prieto talked about it at NYFF, they had to match (and it took some work) the digital to the 35mm used when deaging is no longer necessary. 

Watching the trailer on Netflix itself on a big screen, it surprises me how successful it looks, although there is for sure a visible difference when the 35mm shots come on. 

It's bizarre that you expected a certain look for it, this is a different film obviously, Prieto spoke of the different looks (that I posted about above):

"

There were a few notions that Scorsese mentioned as we were starting to prep the movie. One of them very early on was about wanting to have a feeling of the photographic memory of the past. He mentioned Super 8 or 16mm home movies, and just asked me in the general sense how I thought we could achieve that feeling without literally shooting with grainy, handheld film. So I got more into emulating the still photography look of the different decades, in particular the ’50s, and then the ’60s, and then of course a lot of the story happens in the ’70s. I decided to separate those decades with those looks, emulating those emulsions: Kodachrome in the ’50s, and toward the ’60s we transition to Ektachrome (also saturated in color, but more a blue-green tendency, and the shadow)."

"Then for the ’70s, I transitioned into a whole different look, which is not still photography: ENR, a process that was developed in Technicolor by Vittorio Storaro, in which the silver is retained on the print of film for motion pictures, and the result is high contrast and desaturation of color. I started applying levels of this ENR look, so that basically the film starts getting drained of color in the later decades. That gives a feel of nostalgia, maybe, for the past, even though the events that are happening are not necessarily the prettiest."