Richard Vialet

Of course! Based on the story, it seems like there were a lot of airport locations. Can you talk a little about the approach to that. Did you shoot in mostly practical working airport locations, mostly built pieces, a combination of both? If they were practical sets, can you talk about your approach to the logistics as well as the lighting. If they were built sets, I'd love to hear about your approach as well. And was it part of the look to make each airport location stand apart from the others visually? If so, what was your plan for that? Thanks again for the info!

I've been waiting to hear from you in the forums about this movie. I'm sure there was a reason why there wasn't a journal for it. I'm glad to hear it brought up now. I've been SOOO excited for the movie and really glad its been getting good reviews at Telluride! The trailer is amazing and everything about it looks great! I love the clip and love your lighting. Congrats! Can't wait to see the movie! I would love to hear more about working on the project and your experiences...like working with an extremely huge star like Clooney and your approach to the lighting and composition in the movie. That bar scene clip has a wonderful simple elegance to it.

and thats not to say that the locations of one movie was better than the other. They're two completely different movies. ....And yea they were also shot on two completely different stocks and formats as others mentioned

That image example looks like it could've been a bad transfer... The movies also have totally different locale's...Basterds has more "exotic" locations than Reservoir Dogs which mostly takes place in industrials areas of LA. So the design has A LOT to do with the differences in things like saturation and the appearance of "big-budget". A lavish Nazi premiere with deep reds in the decor will USUALLY look bigger budget than a long scene in some abandoned warehouse. Check out these jpeg screengrabs from the blu-ray...i wouldn't say Reservoir Dogs is all that low-contrast:

Yea it seems like a hard matte on the mattebox effect. Aren't there some anamorphic zooms and telephoto primes that have square bokeh like that as well?

I think it looks pretty damn cool! And I too get a sense that the best stuff is to come and it probably looks amazing in IMAX

I also love that movie too...(many dont agree with me maybe its a guilty pleasure :) but from what I remember I've always thought it was simply the use of a very narrow shutter angle...with seems like the best course of action to shoot drumsticks at full movement. Because at a regular 180º shutter the movement would be too blurry to be really effective for the viewer.

Sorry just realized that part of my post about my only lighting gripe was pretty vague (there are many stills of them in bed)... I meant the still of them sleeping in bed with what seems to be like blue moonlight. Sorry for that vagueness in the previous post...

Cool stuff. The overhead shot of the lady on the bed as well as the stuff of her at what seems like a vanity mirror all look very sexy. I'd like to know more details about the story...to put the shots and lighting into more of a context. I'm sure we'd all like to know more info about the technical stuff as well, like what lenses were used and lighting specifics. How was the night scene in the car lit? All natural? *Maybe my only lighting gripe would be the still of them in bed. The levels seem a little high to me. But I'm not sure what you were going for and it might be easy to remedy in color timing. * And why did you decide to shoot at 2K throughout? Was it a hard drive space reason? All the RED footage I've seen at 2K always seems WAY softer than it should be. I shot a music video all at 2K, and I was very disappointed. I would try never to do that again. The stills here seem a little soft as well but maybe thats what you were going for. It might also be a product of the lenses and/or the proxies.

You could do like a poor man's slo-mo that I've seen people do before that doesn't look that bad...where you shoot in the 60p or 60i format instead of 24p and then capture your footage at 24p. Seems to work fairly well but your limited to a "60 frames per second look".

Check these out too for screencaps...i found these sites a while back: http://www.leavemethewhite.com/index2.html http://screenmusings.org/#Movie%20Screencaps

* Sounds extremely straight foward! I would love to use the camera! If it's possible i'd love to see some full day exterior stuff if you've got it! Again...good job

Cool looking stuff for such little resources... Congrats on being able to shoot on something other than the RED! **Can you explain the "IRIDAS" a little more and the process of creating the look in camera? Is the looked used as metadata throughout the whole editorial process with the mov files but can be changed in Cineform when you want? **Are there options for generating frame guides for composing in other aspect ratios in camera?

Ah gotcha!

I know alot of people that use Baraka or recent animated movies to show off their BluRay system... From what I've seen, Black Narcissus looks STUNNING on bluray! Blade Runner too... Gone With The Wind and Hero are both coming soon to the format and both of those should be must-owns... **The original Star Wars trilogy and Lawrence of Arabia will be priorities when they finally come out too

Hey Eric! Can't wait to see the movie! I was skimming on the movie's IMDB page and saw a behind the scenes photo of a scene being shot with what seems to be the RED One...it seems like a scene with zooey and joseph dressed as sid and nancy i think. From what I recall on your journal the movie was shot on Super35. I don't recall any mention on the RED One (maybe I missed it somewhere on the boards?). Is this photo accurate? Did shoot part of the movie digitally? Did you use the camera to shoot some pickups maybe? Just wondering after I saw the photo. I think this is the link: http://www.imdb.com/media/rm3173812224/tt1022603

She did say f%$#ing...im sure that would constitute as not being approved for all audiences by the MPAA...

ASC store at www.theasc.com...i think u can find them at many libraries too

Can you tell us what the plans for post will be? What post house/workflow will you guys take it through?

According to American Cinematographer: It was shot on Super16mm with Aaton XTR-Prods and A-Minimas and Canon zoom lenses, with Fuji 250D 8663 and 500T 8673 film and the Phantom HD camera for the great high-speed material.

"Airborne Alligators!" lol i would pay to see that!

thanks alot jayson!

www.woodylight.com *David Mullen also used them on his last two RED productions and talks about them a little in his journals for those movies.

Great great great great great work Jayson. I always look forward to your journals because I think you have a wonderful knack of doing amazing work with fairly limited resources! And this project is a great example of that. Very informative as well. I'm also happy to see you discovered the Woody Lights...I used them once myself and thought they were great as well. I think the end exterior scene looks great and would love to see the full scene with the technocrane stuff. I have some questions...forgive me if they were answered before in your post and I missed it. * How did you compose common top 2.39 with the RED. Did you use the frame lines generated by camera? I know those lines are defaulted to the center...is there a way to move the lines around so that you can compose for common top? * Did you have any special color temperature changes during the shoot? Or did you just stick with straight tungsten and daylight balance throughout? Just wanted to know if the cool tones in the lighting is partly because of color temp or mostly because of your gel package. Again GREAT job and can't wait to hear about the next one!! **Also I must give kudos to the design department on this...it really shows how cinematography really is 70% collaboration with the art department and I try to stress this on every project that I work on these days.

Theres alot of literature on the use of the dye-transfer printing on Zhang Yimou's previous movie, JU DOU, using the old equipment that the Chinese bought from Technicolor after they shut the process down. This was just released a year before Raise The Red Lantern, so I always expected that they did the same thing for this movie. But I think Ju Dou was considered one of the last major dye-transfer printed movies to be released before Technicolor revisited it again for movies like Pearl Harbor.