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Thanks for the update Eric

 

For the prints, are you going to strike them directly off the new neg or will you have to go through IP/In stage?

 

Was the filmed scanned at 4K then downrezzed to 2K I presume?

 

 

I wish. Another Searchlight mandate is for IP/IN distribution. We pushed for multiple negs but the reality is that this is a small film and I guess the cost is just too prohibitive. I will say that the Tulluride and Toronto prints are from the neg directly and look very nice (as much as they can).

 

We scanned at 2k. I post schedule was rushed to meet Telluride and there simply wasn't the time to scan, render, and record 4k. I actually prefer the 2k in our case since the 5229 stock I used tends to be a little grainier and the lower resolution helped out in that regard. That being said, it's also worth mentioning that I opted to add a very small amount of digital grain reduction.

 

Another thing I forgot to mention is that I did a IP/IN test with Kodak where we pulled the IP 1/4 stop to lessen the contrast from the IP/IN stage and it worked very nicely. I'm sure we'll be doing that.

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  • 5 months later...
Thanks guys.

 

Yes, happy accidents tend to be those ones that can really add texture and character to a film.

 

Hi Eric:

 

Congratulations on your great work on Juno. It must have been a wonderful experience to shoot this year's "little film that could", it's success has been astounding. I really enjoyed your photography. To me, the work of the best cinematographers and directors are always when I, as a lighting cameraman, can detach myself from analyzing every shot and setup in the film and can just kick back and immerse myself in the story and characters. Your photography was tasteful, non-intrusive and best of all, it supported and enhanced the characters and plot, what more can you ask for?

 

Kudos to you and congratulations on your success!

 

Dan Brockett

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I'll see if I can get permission to post stills of my lighting setups. The studio is fanatical about images being released that show too much of the story even if through the set. But I'll try.

 

Now that the films out do you think you could post some stills/give us some more info on how you lit the film.

I loved it by the way. I've seen it twice in the cinema already- I think that it's the first time I've ever done that.

 

-Jon

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  • 2 weeks later...

hi eric

 

to see for the length of the files waiting for juno in front of the movie theaters here in Paris, i really want to rush in.

then i remembered this post, and the fact you dp'd the movie.

i like your style from th first reels you posted here (the tampax comercial...) so i'v got to see the movie.

congrats again.

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  • 3 weeks later...

I've only just joined this forum - saw Juno (twice, actually!) and loved it....

 

Are you able to post up those stills that you mentioned earlier in the thread at all now that the films's out?

 

Congratulations on some very very nice work.

 

Oh, and I do think that I agree with you about going to digital projection.... I find seeing dirt (either neg or pos) on prints really distracting.... Being a VFX person, though, I've developed a bit of an eye for spotting dirt on film.....

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  • 2 weeks later...

Jean Marie, wow, that was a long time ago I posted those! I'm glad to hear there were such long lines.

 

I will see if I can dig up the stills. I backed them all up to disc but that disc is at home in California and I've been in Texas for over three months on a new film. I return home Monday so I'll see if I can then find some to post.

 

My lighting plan was simply to eliminate hard light and have the illumination seem environmental. I didn't want it to feel as if I was lighting the actors but rather the rooms, etc. Some locations I was able to do that better than others. The problem is that sometimes you need a little bit of a harder light to help define faces (cheeks and jawlines) particularly on the ladies. JUNO was difficult in that I frequently didn't have the space in a room to set light AND it's diffusion and I didn't feel like Kinos were always the right way to go for soft light. In fact, Kinos were considered my hard light! I remember the scene between Bleeker and Juno in his bedroom was challenging. That was a real room on the second floor of a house that was tiny. To get the backlight on Bleeker for instance I had the grips tape a bounce card to the wall up behind him and I put a source 4 across the room on a dimmer bouncing into it. But then of course I had to come in a flag the heck out of it so it wouldn't bounce everywhere.

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Eric,

Just curious what you are shooting down in Texas. Being a former Texas 2nd AC its nice to hear that people are still trying to go to the state after Louisiana and New Mexico passed those tax breaks. It got really slow in Austin I remember for a while. Anyway would love to get a good production blog on your lastest down in the Lone Star State.

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