strancali
Well-known member
Gotcha, thanks for the info.
F65: Woody Allen and Vittorio Storaro go for the F65 on Woody's first digital film
- Thread starter starcentral
- Start date
Gotcha, thanks for the info.
Piszkos Fred
Active member
Jon Fauer did a 13 page long interview with Storaro on F65. http://www.fdtimes.com/2016/04/10/storaro-passage-from-film-to-digital/
starcentral
Veteran
Jim, if you were to record the output from the F65 ( does it actually have 3G or dual link 1.5G ports?) to something like a 10-bit 422 recorder or even 444.. do you know if the "mojo" is lost at all or is it somewhat preserved?
Curious to hear feedback or thoughts on that.
Watched it full screen at 1080: That is one sharp clean image.
Grug
Veteran
Hrmm... don't know how I feel about that. I don't know if it's just the combination of the fairly deep depth of field Storaro has chosen to shoot in combination with the insane detail of the F65 sensor, but I found that distractingly 'digital'.
Hmmm... I didn't find the image to be too digital ( though it has no grain which is a digital thing ), but I wasn't crazy about the grading which felt very heavy handed to me. ( maybe the real grading isn't finished, so things might improve when it's released in the Fall )
The deep focus, I reckon, is an homage to the 1930's and that era of film making ... aside of that era being almost entirely shot in Black and White.
In any case, while it may look a tad harsh on a computer screen, it may look different in the theaters. I happen to like it regardless.
abreu-canedo
Well-known member
I don't always say this about every Woody Allan picture, but I'm looking forward to this. Nothing against him, or anything.
Image-wise, just from a quick glance, I did not have a great response to the harder shadows on the Steve Carrel shots. Of course, judging image out of context of the story is not super productive in terms of assessing the role of said lighting technique. Again, as a preliminary assessment, hose are the shots that feel more video-like (for lack of better words). I have a lot of trouble with hard lighting set-ups myself. For me, it often tends to amplify a quality I dislike about digital capture. I can be way off-base about this, since I still am consistently mystified about what makes a shot digital/videoish or more film-like. I can set up a shot that looks very filmic, but move the camera a few feet, or move a light around, and all of a sudden, video-town! Haha. But I totally agree that seeing it in theaters may prove to be a different thing altogether. And all of these comments are based on a quick view in less than optimal conditions, off of a youtube trailer
But I actually enjoyed the color palette so far..Chances are that it is not the final grade since featurettes are often graded by a separate post house, but then again, not necessarily.
I'm struck more by the production design. The attention to detail on the wardrobe colors, matching or contrasting with the set-design and lighting. Either sinking the characters into the locations or pushing them towards the viewer. Very formal, almost in a Wes Anderson style. Not quite as playful or self-aware, but similar in a way.
Image-wise, just from a quick glance, I did not have a great response to the harder shadows on the Steve Carrel shots. Of course, judging image out of context of the story is not super productive in terms of assessing the role of said lighting technique. Again, as a preliminary assessment, hose are the shots that feel more video-like (for lack of better words). I have a lot of trouble with hard lighting set-ups myself. For me, it often tends to amplify a quality I dislike about digital capture. I can be way off-base about this, since I still am consistently mystified about what makes a shot digital/videoish or more film-like. I can set up a shot that looks very filmic, but move the camera a few feet, or move a light around, and all of a sudden, video-town! Haha. But I totally agree that seeing it in theaters may prove to be a different thing altogether. And all of these comments are based on a quick view in less than optimal conditions, off of a youtube trailer
But I actually enjoyed the color palette so far..Chances are that it is not the final grade since featurettes are often graded by a separate post house, but then again, not necessarily.
I'm struck more by the production design. The attention to detail on the wardrobe colors, matching or contrasting with the set-design and lighting. Either sinking the characters into the locations or pushing them towards the viewer. Very formal, almost in a Wes Anderson style. Not quite as playful or self-aware, but similar in a way.