Agustin Saavedra Suau

Hi you all. It Follows is a Robert David Mitchell movie that made 13 times more money with budget of $1.000.000 dollars, and todays has earned the title of an horror cult classic. Has hidden key members like colorist Mark Todd Osborne (worked with Stefan Sonnenfeld in many blockbusters), editor Julio C. Perez IV (edited 15 eps in Euphoria) and music composer Disasterpeace (Triple Frontier). Mike Gioulakis (cinematographer of Split, Glass, Us and Old) made his first important feature film debut here, and an impecable one (on point). I can't find any information about how this movie was made in the ASC, british cinematographer, blogs...maybe 2 interviews on some webpages, and not any important featurette in youtube or the Blu-Ray disc. I like to see the b-roll of behind the scenes (showing reflectors, Negs, lights, dollies, steadicams, monitors, rigs, etc), know how of special effects with visual effects (alexa prores 4444 or red raw for plates), art direction designs, make up, location scout, sound design creativity, music creativity, script background, storyboarding, why they decide to record with Alexa in prores 4444 (was it on Codex), in what 35mm film stock was printed (with Arri laser?) all I could get from interviews and digging was: 90% of movie filmed in Alexa with 80% of movie filmed with cook S4 18mm T2, some scenes with Angenieux Zoom Optimo 24-290 T2.8 as telephoto lens and zoom, one scene with Fujinon Alura Zoom 14.5-45 T2.8 as dolly-zoom effect and Arri Shift & Tilt System as dutch Tilt Push-in for one Jay's POV shot in the hospital scene. All shots with deep focus aperture. Preserving the premise that a short lens with deep focus allows to generate suspense through the subjects moving around the places with realistic perspectives. All the 360 pans were done manually. Some dollies done with a 50 feet Dolly track. The intro scene was filmed with nothing more than the natural light of the setting sun in Dusk. In the car sex scene, 2 blondes and a 5K were used inside a 10x10 foot softbox (supported by an 80 foot condor)on top of the car. Inside the car on the roof a 2x6x1/4 inch dome light was made with a LiteGear LiteRibbon LED. And night exteriors with lights filling spaces in trees, graveyard and constructions. Red Epic for underwater and the wheelchair shots. Redcode Raw recorded on SxS pro cards. Direction, production and script: Robert David Mitchell production: Rebecca Green, Laura D. Smith Irrland, David Kaplan & Erik Rommesmo music: Disasterpeace Cinematography: Mike Gioulakis Edition: Julio C. Perez IV production designer: Michael Perry art direction: Joey Ostrander costumes: Kimberly Leitz sound design: Christian Dwiggins & Chris Trent special effects: Tate McLellan-Boland Visual Effects: John Attard (Rain VFX), Max Pareschi (Rain VFX), Alan Pao (Tunnel Post) Color: Mark Todd Osborne Anything you could know that may help. Many thanks in advance.

That Open Gate from Arri is very noble. I think it take the best from most circles of vision in lenses, and that taller open gate makes you take advantage of the vertical angle of view. Maybe the best quality option for Open Gate cropped to 9:16 for TikTok commercials. And very expensive one. Anyway any sensor with Open Gate is better option than 16:9 or flipping the camera. But the the vertical angle of view of lens maybe smaller than the horizontal angle of view, so in some cases depending on what angle of view you need, you'll have to flip the camera. For example with a rectilinear 8mm ultra wide angle lens, for a shot that needs 120º angle of view in a space for real state, or anything that needs all the angle of view supported by the lens, but in a 9:16 aspect for social media. If your lens gives you less than that in the vertical angle of view, you'll have to flip the camera, or pray to the universe to create a new lens. Anyway, there are some new lens mount adapters that let you flip only the lens. Maybe that mixed with any open gate sensor would be the way to go in that case.

WOW. The video test are really on point. Answers a lot of questions I had, and helps a lot when I'm reviewing the cinematography of some feature film. Thanks Richard

NICE! It would be amazing to post-process that footage, taking off some dust-scratch particles, making those high lights more darker, leaving more flat mid tones with blacker blacks in portions of the shadows, tweaking the hues of the yellows to make more color separation, maybe a bit of cyan-green on the shadows and yellow-orange in the high lights. Take advantage of all that latitud (and dynamic range) that is lost in rec 709, because it has another gamma ( dynamic film gamma) and another gamut made for projection, so is would be good to semi-manually translate that conversion.

This film was a great surprise. How they made good use of Open Gate 65 digital format in the Alexa, the latitud is has when pushed in high ISOs during the shoot of this film, the election of lenses with vintage character and how they exposed the image to make good use of DaVinci Resolve in post. Using different exposure curves for day and night. It looks like film. Remember when Fincher started to use digital cameras with this scope, and soon Nicolas Winding Refn, even saying in multiple interviews that the thing is about how you film in digital sensors. Claudio Miranda says the same. Obviously when it comes to the ultimate projection quality 15 perf 70 mm IMAX is the thing, and you can feel the same with 35mm film when you see a Chivo-Malik feature films (with all those backlight atmospheric dynamic wide shots). But what is interesting is how filmmakers are mastering digital so they can convey a pretty solid look that can take the story to another level. And for this reason I feel that ALL QUIET ON THE WESTERN FRONT is a solid winner .