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70mm, 35mm screenings for INTERSTELLAR


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Just seen it at an IMAX.

 

Yeah, not bad! Loved the robots and production design in general - very good.

 

I see the focus issues in the 35mm, and I think would have noticed them without the prior discussion. But it's really not an issue, and it's clear looking at the DoF involved it would have been a challenge! Although there was a shot of Matthew just after he had received his first messages, it really looked off, focus but also almost like - and I feel weird saying this - VHS (?!).

 

I think it becomes a striking because of the inconsistency of the super resolution of the 70mm intercut with 35mm but I'm only bringing it up because it was mentioned already - iIt wouldn't have stuck with me as relevant to both the story and the cinematography in general otherwise.

 

I went with a bunch of masters physics students, I was expecting some vibrant discussion afterwards given that the reality of the physics was a selling point for them (not sure where that came from but it's true at least for them). Thing is even I could tell it was tosh, (ahh we'll just swing past the ol' neutron star!) so it turns out we were all flexible enough and just rolled with it anyway.

 

Music again, overbearing like Inception - but the film as a whole muuuuuuuch more enjoyable.

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Greg...I have yet to see it, but your description of the production makes me all the more interested! Sounds like a real cinematic experience!

 

I also get the impression that Chris Nolan is a technically savvy director. Would that be correct?...

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Gregory, is there going to be much print coverage on the cinematography end of things? I had read that AC was going to have it in the November issue, but nothing showed, and now they have it listed for December, but ?

 

I'd hate if this film slips through cracks like BIRDMAN might be doing (I tried to cover that for ICG, and later after that fell through, for HDVP, but got nowhere either time, even though I talked to Chivo about GRAVITY the year before.)

It's been very interesting reading all of these posts. I believe David's insight was correct. We built all of the anamorphic lenses custom for the movie as well as the two "hero" IMAX lenses - 50mm and 80mm. All of the lenses were T2 and 2 to 2.5 foot minimum focus. My anamorphic 65mm focused down to 16 inches.

We shot almost the entire picture at a T2 and at minimum focus while hand held or on a remote head. Every shot was focused by a Preston FIZ. As for the Michael Caine death close up, that was the 65mm anamorphic at a T2. We slowly pushed into minimum focus and when Michael tilted his head, we were unfortunately inside of that minimum limit. The depth was incredibly shallow. For many of the IMAX close ups, I was remotely focusing the 80mm at minimum focus (T2) with a plus 3 diopter. That made life very tricky. I'm actually very proud of the movie as well as all of our work on the camera side of things. It was and is an amazing accomplishment.

G

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There were a few touching moments which almost got me-- but that's because it brought back memories of my own. But I digress. Saw it 70/15 at TCL and the print looked fantastic. I didn't notice and of the focus issues, really, nor have a problem with the audio; but maybe that's just me. I did have some problems with some other things in the film-- but on a technical level it was fantastic and very well done.

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Maybe they needed to reboot....

I read this out of context and thought you meant reboot the film :lol:

 

I've waited a while but now I can finally read the original script that has been floating around the net, a quick précis indicates that I'd probably opt to see the film again if the original script was made also...

 

SPOILER ALERT:

 

***************************************************************

I like in the original script Cooper and co. are the first to go through the wormhole - that is, until a twist... Point being that the traversal of the wormhole would be experienced as an unknown identity. In the film we see it is a relatively trivial exercise, I guess we get the blackhole to make up for that...

***************************************************************

 

(select the text between the asterisks to see it)

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Greg sorry i bought up the Michael Cain death scene re. focus , i do think the Dop should have a used a touch more light so it would have given you chance so just for that shot maybe a T4.5 would have helped .

No worries John. All good!

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