Stephen Perera

Masterpiece.....the cinematography esp. the camera movement plus the styling, the acting, the storytelling.....a must watch for all of you in here I would say.....

I really enjoyed it too Jon I don't know what all the criticism......it is what it is.....

Exactly...if you're old enough then it goes to another level doesn't it James!!! The clothes the haircuts the furniture the smoking everywhere thing, the pre Aids pandemic 'attitude'......a masterpiece period piece. The operator on roller blades hahah wtf

....this to me looks real, like it was shot back then.....I remember the 80s very very well........notwithstanding the 'cliche's of showing the Super8 negative and a few other things to inform the less.....observant....amongst us haha....chapeau to all....love it....

some stills

So why are we not talking about this highly entertaining fun and fantastic period piece I don't know....but we are now....or are we: https://www.kodak.com/en/motion/blog-post/winning-time A complete achievement in the achievement of the 'look' of an era in my opinion....interesting quotes from the article on the Kodak site.... After several months of testing production formats and finishing techniques, the ingredients for the visual recipe emerged – a mixed-format arsenal of 35mm, 16mm and Super8mm cameras, adapted to shoot in Max8mm format, for the narrative live-action sequences, plus a bevy of vintage Ikegami three-tube color TV cameras, as used in the 1980s, for basketball games and press conferences. The workhorse filmstock was KODAK VISION3 500T Color Negative Film 5219 in 35mm and 7219 in 16mm/Super8mm formats, for its warm and vibrant color and ability to enable the DPs to shoot at a deep stop - from a T8 to a T16 outside - and for interior and night sequences. KODAK VISION3 50D 500T Color Negative Film in 5203 35mm and 7203 16mm/Super8mm formats was used for exterior/daylight scenes, chosen for its color, contrast and more shallow depth-of-field properties. KODAK VISION3 250D Color Negative Film 5207/7207 formats were employed on shady or overcast exterior day shots. EASTMAN DOUBLE-X Negative Film 5222 35mm B&W, plus KODAK TRI-X Reversal Film 7266 in 16mm panchromatic B&W were harnessed to emulate newsreel footage. "During production, and to take steps toward period KODACHROME and EKTACHROME print looks, all of the film was underexposed between 1/4 to one full stop, depending on the scene. The footage was then push-processed at the lab to encourage subtle image detail in the toe, increased contrast, grain, and color saturation, and a slightly foggy image overall that looked like yesteryear. In post-production enhanced film gate weave, 16mm highlight halation, image softening and custom print LUTS were all added to complete the effect." "We specifically asked the lab technicians at Fotokem to not dust bust the negatives and informed our QC team in post-production that, apart from appearing on faces, any scratches, sparkles and hairs in the gate were perfectly acceptable." "Even though we were using modern technologies, such as remote stabilized heads and Steadicam, we kept bumps, extreme servo zooms and other imperfect camera moves, and didn't worry about crossing-the-line or matching eyelines, to give it a more handmade, caught-in-the-moment feeling." “For authenticity, we used built-in period lighting built into our sets – fluorescents, sodium vapor, metal halide and mercury vapor – with a lot of old-style hard light on top of that, akin to what you might see in movies like Pulp Fiction (1994, dir. Quentin Tarantino, DP Andrzej Sekuła)," he notes.

Hi Raoul Thanks for your great post! Videotap - I am sure Tyler would be interested as he's doing 3D printing parts for Aaton really successfully.....he created a battery mount for me - my old original batteries died during lockdown and now I can use modern V mount battery thanks to what he created - and I bought one of the 'perfect loop' attachments that also works great.

........and yet here we all are saying how great Kubrick's 2001: A Space Odyssey is...I for one haven't got a clue what the hell that was all about and just appreciate the film as a visual experience.....especially the space travel Pan Am flight with the stewardesses and all the tech...... Great contribution from our man Gregory Irwin in this thread thanks for that....you are truly entitled to criticise and say whatever you want about this subject indeed! All that being said.....Long live film! Long live Nolan! hahahaha

I shoot 500CM and 2000FCM regularly for my paid work with Kodak Portra family films! hence why I love standard 16mm format viewfinder! haha

Interesting to me in all this is the conversion of Hasselblad Zeiss lenses to use on 70mm cameras in general.....for example my 80mm Planar and 50mm Distagon and maybe even the 110mm.....maybe it's my imagination but I see the flavour of my lenses up there.....

totally agree...the way they did the 'test' explosion to prove the theory was the best part of the film technically for filmmakers to appreciate I think

Phenomena cinema are showing it in 70mm film projection! https://www.phenomena-experience.com/programacion-mensual/todo.html Información y taquillas info@phenomena-experience.com 93 830 77 55 · Taquilla abierta según programación, 20 minutos antes de cada sesión. C/ Sant Antoni Maria Claret, 168 · 08025 Barcelona

All very interesting comments...... I saw the film as a normal digital 2K projection in a nearby cinema in Spain in original English language with Spanish subtitles.....the nearest for a 70mm film projection is Barcelona....I might go up there in September if they still run it The film.....for me it was a cross between JFK by Oliver Stone in terms of the editing and pace AND The Tree of Life by Terence Mallick with its wide angles on Cillian Murphy along with the representation of the science when they were working to create this bomb....the mix of Eastman Double X with the Vision3 helped the plot along nicely I thought.....I also thought there was enough exposition to make plot and themes less obscure than Tenet for sure! I also liked the camera work.....no unnecessary cranes and flying cameras......I don't think this fact can be emphasised enough for this film....gave it more of a human viewpoint from start to finish......the film certainly got stronger and stronger! Excellent film.....the best cinematography was when they did the first test of the bomb.....the combination of images and sound was fantastic......also of course the Cillian Murphy close up expressions

haha we must not go to the cinema together Tyler... Ad Astra - I saw that film...about loneliness/solitude essentially as its central theme....by myself, alone in an empty cinema.....you have to know what real loneliness feels like to get that one perhaps...I do....a lifelong struggle against it even surrounded by loved ones/friends as I am gifted to be Dunkirk - you have to be British/French to really get that one....I thought it was a deeper, better film than Private Ryan albeit the latter a great rewatch on any time/day of the week but let's face it...it's an Americanism....

Very informative and yes my own personal opinion was if they pay for it then obviously it can be done again hahah.....it's a change of chemicals....Kodak D96 and Fix F5....also for Kodak to cut 70mm film isn't exactly difficult for them either......film is produced in large sheets and then up into formats no? so what's the big deal really....other than hype and marketing value.....maybe im wrong

I'm film evangelist as some in here know haha.....I find people around me are always really interested to hear about films being shot on film or digitally and I ask subjective questions such as whether they feel the actors are playing dress up or have we been transported back to the era (if applicable) and then I explain things......its great....people are very open to artesanal ways of doing things and they value industry/art etc such as shooting on film presents

the time has come...or nearly.....I'm going to travel up to Barcelona and stay a couple of days and watch a 70mm film projection of it methinks.....it will not be shown in Spain in IMAX 70mm format.....it will be shown in digital IMAX

yes of course.....I didn't much understand The French Dispatch half the time but enjoyed watched it

I would agree with this somewhat....perhaps his next one takes the 'criticism' from us fans on board and he hits us with a great story. The Wonderful Story of Henry Sugar is next...shot on 16mm...perhaps this one has a more linear storyline more of us can follow

Moonrise Kingdom is also my favourite so far....one must watch a film to talk about it though haha I also left unfulfilled in terms of the plot and understanding of what I saw but in simple terms it was an existentialist piece and as such open to interpretation

so did you buy it then?

I saw it again in original language and I really enjoyed it. It lost a LOT in translation. Anyone else seen it? Has it become less about cinematography and more an 'art director' 'production design' masterpiece?

will definitely watch it when possible....it will not release anywhere near me so I have to wait for it to be available

....as Robert says, just loosen the screw on the spindle (see image) and lift it off...you will be left with a much thinner, metal spindle onto which you place your 100ft daylight film easily. The take-up is with a plastic CORE and NOT on a daylight spool Although called a daylight loading spool I load it in the dark the same as with 400ft spools....