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I'm watching Sicario right now, and looking at all the shots of Juárez, there's always teal and yellow things everywhere: walls, houses, railings, etc. Did they look for locations where those colors were prominent or did they have to paint all of the buildings to make it look consistent? I assume some of it can be done with CGI and color correction, but most of it looks practical.
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Aug 30, 2018 21:26
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Al Cu Ad Solte posted:Is Mandy going to get a wide or limited release? I haven't been able to find much concrete information. I hope it's wide. The nearest indie cinema is like 2 hours away. Have you checked their website to see where it's showing, because you might be surprised. The two theaters in my area that will have it are both huge multiplexes in extremely non artsy-fartsy exurbs.
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Aug 30, 2018 22:47
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Spermando posted:I'm watching Sicario right now, and looking at all the shots of Juárez, there's always teal and yellow things everywhere: walls, houses, railings, etc. Did they look for locations where those colors were prominent or did they have to paint all of the buildings to make it look consistent? I assume some of it can be done with CGI and color correction, but most of it looks practical. You'd be surprised how much of this is just grading. And yeah some good location scouting and framing
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Aug 31, 2018 11:32
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Though repainting locations for a shoot is not unheard of. Jacques Demy famously had thousands of doors and shutters painted in bright pastel colours when he filmed The Young Girls of Rochefort.
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Aug 31, 2018 13:28
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I have a question about Taxi Driver. In the climactic shootout sequence, the quality of the film visibly deteriorates. Starting with the shot of Travis's taxi pulling up to the corner through to the overhead tracking shot, the film is much softer and grainer than anywhere else in the film. I'm just wondering why this happens. Whether or not it was intentional, it does add an extra level of discomfort to the scene.
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Sep 1, 2018 15:49
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Spatulater bro! posted:I have a question about Taxi Driver. In the climactic shootout sequence, the quality of the film visibly deteriorates. Starting with the shot of Travis's taxi pulling up to the corner through to the overhead tracking shot, the film is much softer and grainer than anywhere else in the film. I'm just wondering why this happens. Whether or not it was intentional, it does add an extra level of discomfort to the scene. Scorsese was forced to desaturate that sequence in post to try and take the edge off the bloody violence and score an R rating, but I've seen him express the same opinion on the ultimate effect as you did.
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Sep 1, 2018 16:01
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It's not the first time it happened and it sure wasn't the last, but it's frankly astounding that the MPAA's problem is with the color red and not the depiction of blood. "Red blood? That's an X. Dark brown blood? Totally fine."
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Sep 1, 2018 16:39
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Basically everything starting with that shot of Travis walking up to Sport and until the newspaper clipping is one long dupe. Two generations from the negative extra. When Sony photochemically restored the film in the 90s, they couldn't find the camera negative to that section, but the more recent 4K restoration improves on at least reducing the amount of printed-in damage. Scorsese apparently isn't a big fan of revisionism, so he's basically fine with that scene remaining looking rough and degraded. Even the 4K uses that horrible quality Columbia logo at the beginning. By comparison, the second half of the restaurant scene in The Godfather was a long dupe until the 2008 restoration. There was a processing issue back in 1972 and they had to correct it with some weird re-processing technique. The camera negative still existed, so they were able to fix the color digitally and preserve the original image quality.
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Sep 1, 2018 16:39
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Almost Blue posted:It's not the first time it happened and it sure wasn't the last, but it's frankly astounding that the MPAA's problem is with the color red and not the depiction of blood. I was watching Ms.45 and the blood there is a terrible shade of orange. So wait, that was a MPAA thing? Like the main character getting raped multiple times and then going on a man-hating killing spree was okay - but whoa whoa let's make the blood look like carrot juice.
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Sep 1, 2018 17:19
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Egbert Souse posted:Basically everything starting with that shot of Travis walking up to Sport and until the newspaper clipping is one long dupe. Two generations from the negative extra. When Sony photochemically restored the film in the 90s, they couldn't find the camera negative to that section, but the more recent 4K restoration improves on at least reducing the amount of printed-in damage. This is exactly the sort of answer I was looking for. So I wonder why Sony couldn't find the camera negative to that sequence? How do sections of film just get lost? Was it maybe a censorship thing?
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Sep 1, 2018 17:58
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I thought I remember Scorsese saying that they treated that section of the original negative to desaturate the color, so it's impossible to restore.
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Sep 1, 2018 18:29
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Usually to get that sort of color effect, they'd make a dupe from the negative via separations. With B&W separations, they can adjust the color values more radically than regular color timing. That's how that scene in The Godfather was fixed in post. But it meant it was always two extra generations from the negative compared to surrounding sections. Spatulater bro! posted:This is exactly the sort of answer I was looking for. Usually any shots that are treated as opticals (dissolves, effects, etc) end up junked. Columbia had terrible preservation practices for years until after the Sony purchase and they're now one of the best. Remember that they lost the camera negative to Dr. Strangelove at some point and the neg to Lawrence of Arabia was stored in a former bowling alley without climate control. Like, all the 65mm originals for all the effects shots in Close Encounters were junked at some point. So, they survive only as 35mm reduction dupes cut into the camera negative. Which is sort of fine since it's how it's always looked, but that means they weren't able to go back and scan large format for the 4K restoration like they did for Blade Runner. There's not really any pattern to what's kept or not, though. For example, the original background footage to the opening credits of The Bridge on the River Kwai survived, so when they restored it, they were able to do a 1:1 re-creation of the titles including a proper credit for Robert Bolt and Michael Wilson. Though, textless credits tend to survive more only because they're used for foreign language versions from time to time.
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Sep 1, 2018 18:41
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There's another weird effect in Taxi Driver at the very end, after Travis drops off Betsy and is driving alone. There's a long panning swipe and when we regain focus the film stock is noticeably different and it seems undercranked. There's also a cymbal or something that is played in reverse. https://www.youtube.com/watch?v=X4wsSRpKXNU&t=147s The scene at 2:27 is the last one shot normally, then the pan, then the different stock (8 mm is what it looks like to me) and the undercranked, sped up look. I've never seen this commented on anywhere but the first time I watched it I found it creepy as hell, a final surreal touch to the story of Travis Bickle. Anyone know anything more about it, what led to that choice, what was the intention?
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Sep 1, 2018 20:02
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regulargonzalez posted:There's another weird effect in Taxi Driver at the very end, after Travis drops off Betsy and is driving alone. There's a long panning swipe and when we regain focus the film stock is noticeably different and it seems undercranked. There's also a cymbal or something that is played in reverse. https://www.youtube.com/watch?v=X4wsSRpKXNU&t=147s The scene at 2:27 is the last one shot normally, then the pan, then the different stock (8 mm is what it looks like to me) and the undercranked, sped up look. I've never seen this commented on anywhere but the first time I watched it I found it creepy as hell, a final surreal touch to the story of Travis Bickle. Anyone know anything more about it, what led to that choice, what was the intention? It's probably an optical since it looks more contrasty. There's a credit for "Chemtone Processing" which I believe was a way of processing stock to be higher contrast for night scenes. I need to rewatch Taxi Driver since it's been a while.
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Sep 1, 2018 20:27
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regulargonzalez posted:I've never seen this commented on anywhere but the first time I watched it I found it creepy as hell, a final surreal touch to the story of Travis Bickle. Anyone know anything more about it, what led to that choice, what was the intention? According to Scorsese, he wanted this last moment to indicate that something is still very off with Travis, and it's only a matter of time until he snaps again. He told DeNiro to pretend that he caught a glimpse of someone in the back seat for a second, which is why he adjusts the mirror. The slight speedup gives it a more jarring effect, similarly to the way he sped up the footage when Travis shoots that guy in the face and he falls backward through the doorway into Sport's apartment. He told Bernard Herrmann, who had already completed the score at the time, that he needed an additional musical "sting" for this final moment, and was provided a little marimba note that Scorsese played in reverse to make it more unsettling.
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Sep 1, 2018 22:48
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Egbert Souse posted:It's probably an optical since it looks more contrasty. There's a credit for "Chemtone Processing" which I believe was a way of processing stock to be higher contrast for night scenes. Origami Dali posted:According to Scorsese, he wanted this last moment to indicate that something is still very off with Travis, and it's only a matter of time until he snaps again. He told DeNiro to pretend that he caught a glimpse of someone in the back seat for a second, which is why he adjusts the mirror. The slight speedup gives it a more jarring effect, similarly to the way he sped up the footage when Travis shoots that guy in the face and he falls backward through the doorway into Sport's apartment. He told Bernard Herrmann, who had already completed the score at the time, that he needed an additional musical "sting" for this final moment, and was provided a little marimba note that Scorsese played in reverse to make it more unsettling. Thanks both. Interesting stuff. Do you have a link where this is from?
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Sep 2, 2018 03:44
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regulargonzalez posted:Thanks both. Interesting stuff. Do you have a link where this is from? That's what I remembered from the old collectors edition DVD featurette and Scorsese's commentary.
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Sep 2, 2018 20:48
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Egbert Souse posted:Usually to get that sort of color effect, they'd make a dupe from the negative via separations. With B&W separations, they can adjust the color values more radically than regular color timing. This has all been super cool to read. Do you guys have any book recommendations that go into good detail about these kinds of things? More approachable, less clinical books on cinematography, cameras, film development, etc. etc.?
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Sep 3, 2018 02:08
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Did/Do women want to gently caress Michael Douglas as bad as Hollywood would lead you to believe?
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Sep 3, 2018 02:11
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pushpins posted:Did/Do women want to gently caress Michael Douglas as bad as Hollywood would lead you to believe? Yes, yes they did. That whole period between The China Syndrome and Romancing the Stone, dude was considered super hot.
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Sep 3, 2018 02:15
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Billy the Mountain posted:Yes, yes they did. I heard he does oral
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Sep 3, 2018 02:34
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pushpins posted:Did/Do women want to gently caress Michael Douglas as bad as Hollywood would lead you to believe? He married Catherine Zeta Jones.
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Sep 3, 2018 02:34
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pushpins posted:Did/Do women want to gently caress Michael Douglas as bad as Hollywood would lead you to believe? I’m trying to think of a recent actor who appeared in as many “mom and dad are going to the movies and gently caress afterwards” films and I’m drawing a blank. Dude was a movie genre in and of himself.
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Sep 3, 2018 03:54
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Krispy Wafer posted:I’m trying to think of a recent actor who appeared in as many “mom and dad are going to the movies and gently caress afterwards” films and I’m drawing a blank. Tommy Wiseau
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Sep 3, 2018 04:35
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Krispy Wafer posted:I’m trying to think of a recent actor who appeared in as many “mom and dad are going to the movies and gently caress afterwards” films and I’m drawing a blank. Denzel Washington.
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Sep 3, 2018 05:04
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HUNDU THE BEAST GOD posted:Denzel Washington. That makes sense. I think I have benefited from a Denzel movie or two.
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Sep 3, 2018 15:29
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I don't know what it is about Michael Douglas, but that dude is just immensely
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Sep 3, 2018 15:52
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Empress Brosephine posted:What do you guys recommend I watch to capture 70s and 80s NYC? Besides the warriors that is Kramer vs. Kramer The Squid and the Whale
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Sep 3, 2018 16:05
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Empress Brosephine posted:What do you guys recommend I watch to capture 70s and 80s NYC? Besides the warriors that is Death Wish Taxi Driver French Connection Midnight Cowboy Marathon Man Annie Hall Manhattan
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Sep 3, 2018 19:47
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HUNDU THE BEAST GOD posted:Denzel Washington. Judging by the Equalizer 2 crowd, he’s still got it. Based on Ant-Man and the Wasp, Michael Douglas not so much.
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Sep 4, 2018 23:46
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Sir Kodiak posted:Judging by the Equalizer 2 crowd, he’s still got it. Based on Ant-Man and the Wasp, Michael Douglas not so much. Michael Douglas has got 10 years on Denzel Washington. He’s not a sex symbol anymore, but in the 80’s and 90’s you couldn’t turn around without bumping into Douglas starring in a cautionary tale of sex and betrayal. I need to watch Disclosure again. If I’m remember correctly the sex was a backdrop to hard drive manufacturing drama.
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Sep 5, 2018 00:34
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Shoulda called it Hard Drive.
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Sep 5, 2018 01:32
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Krispy Wafer posted:Michael Douglas has got 10 years on Denzel Washington. He’s not a sex symbol anymore, but in the 80’s and 90’s you couldn’t turn around without bumping into Douglas starring in a cautionary tale of sex and betrayal. Fair point about the age gap. And, yeah, I grew up with Romancing the Stone and that era of Michael Douglas. He was to the 80s what some Chris is now.
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Sep 5, 2018 02:36
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Boring Hollywood trivia: before he became a big movie actor (he was already a big TV actor but he wasn't big in movies yet) Michael Douglas produced One Flew Over the Cuckoos Nest and won an Oscar.
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Sep 5, 2018 09:14
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Sir Kodiak posted:Fair point about the age gap. And, yeah, I grew up with Romancing the Stone and that era of Michael Douglas. He was to the 80s what some Chris is now. It takes 3 Chris' to make one Michael Douglas. That's how big a star he was. poo poo, can you imagine Captain America or Thor trying to pull off a Basic Instinct.
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Sep 5, 2018 12:34
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Imagining Chris Evans in any sort of sexual situation is hilarious.
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Sep 5, 2018 12:41
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feedmyleg posted:Imagining Chris Evans in any sort of sexual situation is hilarious. Leather jacket, chin strap...it's actually not tough. 
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Sep 5, 2018 13:07
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feedmyleg posted:Imagining Chris Evans in any sort of sexual situation is hilarious. 
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Sep 5, 2018 15:20
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feedmyleg posted:Imagining Chris Evans in any sort of sexual situation is hilarious. * Google searches "Chris Evans whipcream" * You are not wrong.
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Sep 5, 2018 15:32
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Krispy Wafer posted:Michael Douglas has got 10 years on Denzel Washington. He’s not a sex symbol anymore, but in the 80’s and 90’s you couldn’t turn around without bumping into Douglas starring in a cautionary tale of sex and betrayal. I think it was CD-ROM drives, but geez, definitely feels like a movie you couldn't really make today.
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Sep 6, 2018 19:55
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