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34 minutes ago, Stuart Brereton said:

I don’t disagree, but given his preference for modern sharp glass and dislike of flares, even if he had used anamorphic lenses, they would likely have been Master Anamorphics, and not an older type with some texture.

To me it just raises the question whether he was the right guy for the job. But at some level, on the odd occasion I'm asked to do anything, I go to it thinking "right, what does this need," rather than "right, what is it that I like to do." I presume anyone at that level is capable of doing hard-lit, flarey, high contrast anamorphic stuff, or alternatively, once you're a multi-millionaire, saying "sorry, that's not really something I'm into," which would also have been a perfectly legitimate way to handle it.

I mean, when Slice of Life was made in someone's garage (and it even updates the look to modern sensibilities by making night green!)

sliceOfLife.jpg

Also, and while I'm making utterly impotent complaints on the subject of things that have been updated in ways that don't tickle me, allow me to rant intemperately at what's been done with Dune. Say what you like about the Lynch script. With the exception of a couple of rather 1983-looking VFX shots, the thing was utterly gorgeous. Possibly, this is just expressing what sort of stuff I like, but still. How do I make an Ursa Mini do this?

 EUEP0cDUcAAn9TU.jpg

dune.jpg?resize=640,340

Harkonnens-Dune-1984.jpg

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45 minutes ago, Phil Rhodes said:

To me it just raises the question whether he was the right guy for the job.

I've posted before that I think other DPs have created looks that are much more in keeping with Blade Runner. Paul Cameron's work on Total Recall has a dirty, gritty edge that would seem perfect for BR. Cameron achieved that look by seeking out the oldest, funkiest glass, and embracing its faults.

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12 minutes ago, Stuart Brereton said:

I've posted before that I think other DPs have created looks that are much more in keeping with Blade Runner. Paul Cameron's work on Total Recall has a dirty, gritty edge that would seem perfect for BR. Cameron achieved that look by seeking out the oldest, funkiest glass, and embracing its faults.

I very nearly posted some Total Recall stills; I had exactly that thought.

Only downside is all the broken muzzle flashes due to rolling shutter; that really winds me up. Thanks, Jannard.

Question about how I make an Ursa Mini do that stands. I guess I fit a Panavision mount and make my way to Greenford with a wheelbarrow full of bullion. Then spend the same again on production design.

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56 minutes ago, Phil Rhodes said:

Question about how I make an Ursa Mini do that stands. I guess I fit a Panavision mount and make my way to Greenford with a wheelbarrow full of bullion. 

If the guys from Slice of Life can do it with a Blackmagic Production camera, so can anyone. It's all about getting that texture in front of the lens. We used to do that with low budget music videos. Always had haze or water or dust or glass or something to dirty it up.

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40 minutes ago, Stuart Brereton said:

If the guys from Slice of Life can do it with a Blackmagic Production camera, so can anyone. It's all about getting that texture in front of the lens. We used to do that with low budget music videos. Always had haze or water or dust or glass or something to dirty it up.

Yes, that's kind of like the thing I did with Indy Mogul ages ago. Works well.

It was actually the only time I've ever heard someone other than me on a fairly well-attended YouTube channel say "your camera doesn't matter." It was so refreshing.

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14 hours ago, Phil Rhodes said:

To me it just raises the question whether he was the right guy for the job.

Keep in mind that Roger Deakins only shot the movie that Denis Villeneuve wanted to make. Even if Roger (or someone else) attempted to copy Jordan Cronenweth’s work, ‘BR: 2049’ would still be (in my opinion) thematically disconnected from the original.

I think Mr. Villeneuve was probably the wrong choice of director if the producers wanted a sequel that felt ‘the same’ as the original. His films are beautifully cold, distanced, and bleak, with hints of absurdity wrapped in a veneer of realism - he is not a romantic like early era Ridley Scott.

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