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Leavemywife posted:Question about Us: It's a split diopter shot, which sometimes gives that effect https://www.youtube.com/watch?v=2CbQ-ayDbrU
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Apr 4, 2019 23:55
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It's one of these things, which gives half of the image a new closer focal point. The background on the close-up side is blurred, while it's sharp on the far-focused side, so there's a surreal look. With the same actress playing both roles, it's interesting that he chose to use it even though it'd have to have been a two take comp anyway.
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Apr 5, 2019 00:32
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It's worth noting that Citizen Kane didn't use split focus, but rather a mix of compositing and deep focus. For the latter, you basically flood the hell out of the set with light and cut the aperture down to a minimum, which allows you to have stuff both really close and far in focus. That famous shot of Kane at the typewriter, though, was simply done with Welles sitting in front of a rear projection screen. Likewise, the similar shots in Stage Fright and Strangers on a Train were done with composites. Stage Fright isn't particularly well done - if you saw it up close, you'd see all sorts of fringing from the matte around Marlene. I think Strangers just used a rear projection screen again.
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Apr 5, 2019 03:42
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Egbert Souse posted:It's worth noting that Citizen Kane didn't use split focus, but rather a mix of compositing and deep focus. For the latter, you basically flood the hell out of the set with light and cut the aperture down to a minimum, which allows you to have stuff both really close and far in focus. That famous shot of Kane at the typewriter, though, was simply done with Welles sitting in front of a rear projection screen.
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Apr 5, 2019 03:47
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Egbert Souse posted:It's worth noting that Citizen Kane didn't use split focus, but rather a mix of compositing and deep focus. For the latter, you basically flood the hell out of the set with light and cut the aperture down to a minimum, which allows you to have stuff both really close and far in focus. That famous shot of Kane at the typewriter, though, was simply done with Welles sitting in front of a rear projection screen. Yeah, I figured there would things to nitpick in the video but I just grabbed the first one I saw that didn't have a nasally bore droning over the footage
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Apr 5, 2019 03:50
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david_a posted:What's the smallest aperture that's typically used for 35mm motion picture film? f/16? A lot of the time fairly large apertures are used, Lexi Alexander has a good interview about how this contributes to under representation of women and minorities (in short, if the vast majority of dialog is only spoken by white men, and you combine that by shooting with a shallow depth of field where frequently only the person speaking is in focus...)
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Apr 5, 2019 03:54
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morestuff posted:Yeah, I figured there would things to nitpick in the video but I just grabbed the first one I saw that didn't have a nasally bore droning over the footage Though, they left out Nicholas Ray's 1961 King of Kings, which has a lot of great split-diopter shots.
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Apr 5, 2019 06:51
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I'm watching the movie lockout solely because I learned John Carpenter successfully sued the film's makers for plagiarized his films Escape from New York and Escape from L.A. There is a part of the movie that space marines have to assault the space prison and then the escaped prisoners turn on the space jail's space anti space vehicle space gatling gun. Ok my question is, why does the space prison need space guns on the outside to stop people from getting in?
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Apr 7, 2019 02:59
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Tenzarin posted:I'm watching the movie lockout solely because I learned John Carpenter successfully sued the film's makers for plagiarized his films Escape from New York and Escape from L.A. There is a part of the movie that space marines have to assault the space prison and then the escaped prisoners turn on the space jail's space anti space vehicle space gatling gun. Prevent a gang from breaking out a member?
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Apr 7, 2019 03:47
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But that's why the prison is in space and the people on the planet don't really have access to conventional space flight.
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Apr 7, 2019 05:39
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Tenzarin posted:I'm watching the movie lockout solely because I learned John Carpenter successfully sued the film's makers for plagiarized his films Escape from New York and Escape from L.A. There is a part of the movie that space marines have to assault the space prison and then the escaped prisoners turn on the space jail's space anti space vehicle space gatling gun. To do battle against the other roving space prisons.
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Apr 7, 2019 05:51
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I love that John Carpenter sued Luc Besson and won an $80,000 judgment so Besson appealed and lost again, and the appellate court increased the amount to half a million.
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Apr 7, 2019 06:28
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morestuff posted:It's a split diopter shot, which sometimes gives that effect Thank you for that. I can't think of where else I've ever seen a shot like that. It was a pretty creepy effect.
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Apr 7, 2019 06:34
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Tenzarin posted:I'm watching the movie lockout solely because I learned John Carpenter successfully sued the film's makers for plagiarized his films Escape from New York and Escape from L.A. There is a part of the movie that space marines have to assault the space prison and then the escaped prisoners turn on the space jail's space anti space vehicle space gatling gun. Maybe it's meant to destroy incoming space debris that would damage/destroy the prison. That would probably be better handled by something other than miniguns, but maybe that's the in-movie explanation.
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Apr 7, 2019 16:46
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Detective Thompson posted:Maybe it's meant to destroy incoming space debris that would damage/destroy the prison. That would probably be better handled by something other than miniguns, but maybe that's the in-movie explanation. Yeah. Or maybe just because it’s cool.
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Apr 7, 2019 17:07
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therattle posted:Yeah. Or maybe just because it’s cool. In fairness, this is generally almost always an acceptable reason.
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Apr 7, 2019 18:11
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Timby posted:In fairness, this is generally almost always an acceptable reason. Case in point: the caravan in Mad Max: Fury Road. The guitar playing on the roof of the main rig is both extremely impractical and pointless; who's able to hear that?  Looks loving amazing, like everything else about that movie.
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Apr 8, 2019 00:41
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Uhh everyone? Did you see how many fuckin amps where strapped to that thing?
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Apr 8, 2019 01:14
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You could hear those rifts from way out in Gas Town.
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Apr 8, 2019 01:19
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veni veni veni posted:Uhh everyone? Did you see how many fuckin amps where strapped to that thing? Fair enough, my memory is spotty. Though the Doppler effect would likely ruin the music, unless he's just playing for those also driving/riding.
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Apr 8, 2019 01:31
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Rupert Buttermilk posted:Fair enough, my memory is spotty. Though the Doppler effect would likely ruin the music, unless he's just playing for those also driving/riding. He’s a post apocalyptic drummer boy/fifer. It’s entirely for the rest of the war party.
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Apr 8, 2019 01:33
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I need to watch that movie again pronto
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Apr 8, 2019 03:02
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here, a reminder: https://www.youtube.com/watch?v=B-DDR8bowUM
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Apr 8, 2019 13:40
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i cant believe that guitar was a practical effect/prop in every way too
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Apr 8, 2019 14:15
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Just watched Poltergeist for the first time in 20-some years. Directed by Tobe Hooper my rear end, this was at least a co-director situation with Spielberg right?
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Apr 8, 2019 14:48
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The cinematographer came out in the past couple of years and said that it was absolutely directed by Spielberg with Hooper along for the ride as a sort of apprentice at his side. Apparently it was so hush-hush because Spielberg was breaking DGA regulations.
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Apr 8, 2019 14:52
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regulargonzalez posted:Just watched Poltergeist for the first time in 20-some years. Directed by Tobe Hooper my rear end, this was at least a co-director situation with Spielberg right? That's always been the rumor. (The actual rumor was the Spielberg directed the entire thing, and only paid Hooper to put his name on it, so it wouldn't ruin his "image")
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Apr 8, 2019 14:54
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Found the story I was thinking about here. Wasn't the Cinematographer, it was his brother who was also the Assistant Cameraman. Apparently a looming director's strike made them play it safe.
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Apr 8, 2019 15:21
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double nine posted:here, a reminder: https://www.youtube.com/watch?v=4M5KE44xluo Your link was broken, I fixed it.
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Apr 8, 2019 15:33
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Really interesting. Tough to disguise his style though and some shots (like where the parents kiss before the mom goes into the closet to rescue Carol Ann) it was just obvious it had to be Spielberg. Was he similarly involved with on-the-set stuff for Gremlins or was that all Joe Dante?
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Apr 8, 2019 15:33
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I mean, it's not just the direction. Poltergeist is so clearly post-fatherhood Spielberg trying to make up for his Close Encounters sins of Roy abandoning his family for his passion. Spielberg's fingerprints are allll over that, and it fits perfectly into his Daddy Issues thematic timeline.
feedmyleg fucked around with this message at 15:41 on Apr 8, 2019 |
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Apr 8, 2019 15:39
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feedmyleg posted:I mean, it's not just the direction. Poltergeist is so clearly post-fatherhood Spielberg trying to make up for his Close Encounters sins of abandoning family for passion. Curiously, though, it's the mom who rescues the children every time.
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Apr 8, 2019 15:42
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I heard it was less Spielberg directing and Hooper apprenticing, and more Spielberg was on hand to consult on the effects work and then was forced into directing after it became clear Hooper had no clue how to direct. Like, Hooper seemed to think the rest of the crew took care of absolutely everything else, and the director was just supposed to show up and yell Action and Cut at the correct times.
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Apr 8, 2019 17:26
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i swear i have seen some BTS stuff about TCM before, but i don't recall hooper getting put through the wringer for his direction compared to poltergeist. was that just a flash in the pan that succeeded because of its budgetary constraints?
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Apr 8, 2019 17:35
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Bloody Hedgehog posted:Like, Hooper seemed to think the rest of the crew took care of absolutely everything else, and the director was just supposed to show up and yell Action and Cut at the correct times. Considering Hooper directed five films before Poltergeist, I seriously doubt that's true. If anything, the stories regarding TCM's production make it sound like he was extremely demanding, constantly pushing the actors to their limits because he felt they didn't live up to his vision.
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Apr 8, 2019 17:42
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Samuel Clemens posted:Considering Hooper directed five films before Poltergeist, I seriously doubt that's true. If anything, the stories regarding TCM's production make it sound like he was extremely demanding, constantly pushing the actors to their limits because he felt they didn't live up to his vision. the story about the guy having to lay on the hot pavement for extended periods of time waiting for clouds to pass and his skin starting to stick to it was pretty fitting for the movie's canon imo
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Apr 8, 2019 17:45
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feedmyleg posted:I mean, it's not just the direction. Poltergeist is so clearly post-fatherhood Spielberg trying to make up for his Close Encounters sins of Roy abandoning his family for his passion. Spielberg's fingerprints are allll over that, and it fits perfectly into his Daddy Issues thematic timeline. This topic has been discussed a lot in the last 37 years, some of which is summarized on this Poltergeist fan page. I don’t care enough to read all of it but it sounds like at the very least Hopper was incredibly deferential to Spielberg including mimicking his style. He may also have been blasted out of his mind at the time which would probably explain a few things.
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Apr 8, 2019 18:03
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The story I've always read is that Spielberg directed Poltergeist but Hooper got the credit, because Spielberg was under exclusive contract to Universal at the time.
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Apr 8, 2019 18:34
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Personally I think the Texas Chainsaw Massacre blows anything Spielberg has ever done out of the water.
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Apr 9, 2019 02:23
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And Life Force and TCM 2 are better than at least half of 'em.
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Apr 9, 2019 02:36
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