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"The Perfect Sleep" opens theatrically next week


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  • 4 weeks later...

"The Perfect Sleep" opens tomorrow in Dallas and two weeks later in Chicago.

 

Friday April 24th

Inwood Theater (Landmark)

5458 W Lovers Ln

Dallas, TX

214-764-9106

 

Friday May 8th

Renaissance Cinemas (Landmark)

1850 2nd St. #110

Highland Park, IL 60035

847-432-7903

 

 

www.theperfectsleep.com

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  • 1 month later...

Well, it's good and bad news as far as I'm concerned--after the short theatrical run this spring, the noir feature I shot is now out on DVD. That's the good news. The bad is that there's no Blu-ray, and there are no extras on the DVD. But it's out there available for rental at Netflix and Blockbuster (does anyone still go there?!) and of course for sale at Amazon etc.

 

"The movie's justifiably preening cinematography (by Charles Papert) is...easy on the eyes" (New York Times)

 

"Well crafted...all burnished brass and shining steel...the cinematography contains fine compositions" (Roger Ebert)

 

"The cinematography, in a word, is simply stunning. I know that’s two words, but that’s how surprisingly breathtaking they are" (iFMagazine.com)

 

Check out the trailer here:

 

The Perfect Sleep Trailer - HD

 

main site: www.theperfectsleep.com

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  • 2 months later...
The day I've been waiting a LONG time for has finally arrived--"The Perfect Sleep", a film-noirish extravaganza that I shot 4 1/2 years ago is about to have a limited theatrical release.

 

We worked very hard on the visuals for this film and I believe that it shows. We shot principal photography on the F900 and it will be screened in anamorphic 35mm.

 

See the trailer at:

 

The Perfect Sleep

 

Opens 3/13 at the Laemmle Sunset 5, Los Angeles

Opens 3/20 at the Quad Cinema, NYC

 

Chicago, Dallas and Portland dates TBD

 

The booking is currently for one week at each theater depending on attendance...come one and all!

 

I love your style of cinematography. Very Noirish... It kind of reminded me of Clockwork Orange although yours has more contrast. I liked the richness of it. How long have you been working as a Cinematographer?

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Thank you Waqas!

 

I've been juggling a shooting career with a Steadicam and operating career which is an uneasy balance in LA (easier in small markets, where I came from)--somewhere between 20 and 25 years.

 

Incidentally, "The Perfect Sleep" is available on DVD now and was just featured as a new release on Netflix.

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Just saw the HD trailer.

Liked the images.

Nice.

 

...

 

You mention couple of times how well

the F900 holds on the big screen.

 

I wonder what did you do with the

camera detail/sharpness settings?

 

Some turn it completely off...

 

 

And...

 

Did you go for in-camera look

or shot, say with less contrast,

to have more pictorial info and choices in post/CC?

 

And how much was your input in the CC ?

 

 

 

Regards

 

Igor

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I wonder what did you do with the

camera detail/sharpness settings?

 

Did you go for in-camera look

or shot, say with less contrast,

to have more pictorial info and choices in post/CC?

 

And how much was your input in the CC ?

 

Hi Igor:

 

I believe that we had the detail dialed way down or maybe off. It's been a few years so I can't remember the settings that well. Incidentally there were four days of additional photography done on the Genesis (that I wasn't available for). I was very concerned that the looks would be radically different, especially in terms of sharpness and detail, and assumed we would have to "dumb down" the Genesis footage. Ultimately, most of these sequences stand alone and they don't jump out in the final film (except perhaps to me!) but it was interesting to see that I actually preferred the look of the F900 when it came to beauty shots of the lead actress, Rosalyn Sanchez. The comparative softness of the F900 was more flattering.

 

I shot the film with most of the contrast built in to the images . On different projects I've tried to "fill the scope" by shooting a little hotter and then bringing it back down in post, reasoning that if it isn't clipping, it's all good, but I find that this delivers a much more video-like image (=not good!), so on this project I pegged things where I liked them on the monitor and ended up in most cases with the look I wanted. A couple of shots needed lifting in post, possibly the monitor wasn't set up properly on those, hard to say.

 

I did not bake in the color palette however. We didn't have time or personnel to properly paint the camera on location so I kept the camera on preset white balances for much of it, knowing that I would be able to color it later. Fortunately I was available for the CC, we spent 4 nights at Fotokem in Burbank and I was able to oversee all of it. There are a lot of flashbacks in the film and I wanted to make sure that these were treated visually so that the audience would immediately recognize them as such when they pop up, so these were given an amber/semi-sepia wash (a few appear in the trailer). There are a a few other thematic looks in the film that relate to the "good" and "bad" sides of the family and who's territory we are in for a given scene.

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