Anybody know the "recepie" for the "look" of this movie?

Laszlo

Anybody know the "recepie" for the "look" of this movie?

Laszlo

Bad acting, poor script.... Oh you mean the "look"!!!!

That would take some work to cook up that one.

Dan Weber

i still enjoyed the movie..

Bad acting, poor script....

Dan Weber

May bad acting, but I like the movie very much overall. (style, look, directing)

Laszlo

May bad acting, but I like the movie very much overall. (style, look, directing)

Laszlo

It looked very similar to Man on Fire to me. The two movies had different DPs, but they appeared to share a lot of the same camera techniques, which makes me think it may be Tony Scott's doing. I like all the flashing and multiple exposure hand-crank stuff, but I could do without all the animated title stuff where certain lines are subtitled.

As far as I know:

Super 35mm
Aspect 2.35:1
Digital Intermediate

Arriflex, Panavision and Thomson VIPER FilmStream Camera were all used.

They used reversal stock as well. Scott talks extensively about the image process on the DVD. You may want to rent it just for this.

They used reversal stock as well. Scott talks extensively about the image process on the DVD. You may want to rent it just for this.

That's a good idea. I watched on satellite.
Anybody may can make a "recipe" in the HD100's setup? Like the "true color" or TimD's "cine wide latitude"
I think this is close to TimD's "warm green"?

Laszlo

i kind of doubt you'll be able to get that much saturation out of a video image.. what you might be able to do is go for a monochromatic look and experiment with blending layers in after effects (a green color matte on top of a video image with 'color burn' or 'hard light' or 'color' blending at various opacities works good for me)...

That's a good idea. I watched on satellite.
Anybody may can make a "recipe" in the HD100's setup? Like the "true color" or TimD's "cine wide latitude"


Lazlo, first I don't think you'll be able to manipulate the image in the camera at the point of coming close to that look. Second, this is best done in post processing. You will likely need more than one tool and quite a bit of processing time.
My configuration is meant exactly for this kind of applications: bring as much signal as possible into your NLE and then tweak the hell out it :)

Remember - Digital Intermediate. This means they did extensive color grading in digital before going back out to film for release.

Thanks to all of you!

Laszlo

Laszlo,

I'm looking for my American Cinematographer on that one. I haven't seen the whole film yet, but from the bits I've seen in the trailer (http://www.apple.com/trailers/newline/domino/) it looks like cross-processed reversal with some super-saturated D.I.

Everything is tinted to the yellow and green side, and the highlights are blown-out (which is easy to do on HD.)

So I would recommend trying the following recipe (I just made this up right now by combining the levels of my cross processed reversal and Warm Green settings, and haven't tested it.) Good Luck.

MASTER BLACK -6
BLACK COMPRESS 3
KNEE MANUAL
LEVEL 100%
WHITE CLIP 108%
CINELIKE OFF
COLOR MATRIX STANDARD
GAMMA STANDARD
LEVEL 4
COLOR GAIN 3
WHITE PAINT R:25 B: MIN
R GAIN NORMAL
R ROT MAX
G GAIN 3
G ROT 1
B GAIN MAX
B ROT MAX

Thanks Tim, I will try this week!

Laszlo

I don't know how much money for the project you have but if you took it to a DI post house and told them the look you wanted I'm sure they could to a tape to tape transfer and create that look without going back out to film.

Probably wouldn' cost more than a grand.