This thread is called shot on fucking film and it's for trailers of upcoming movies shot on fucking film
So far this yearUpcoming
btw I've "adult grown" my perspective on film. as to say my personal opinion still doesn't actually give a lot of fucks about film. i give two, maybe three fucks about film. but it's dumb kid shit not to love a thing in your life that you may one day lose forever. so my current plan is to appreciate film and treasure it while it's around, since i'd rather it be here and me think it's a little silly, than for it not be here at all and for me to miss it. btw.
i support this thread.
far from the madding crowd is one of the best looking films i've seen all year. so so lush.
bald mass looks cool, i had forgotten johnny depp.
will see bridge of spies on opening day, regardless of the stupid title.
i don't know what to make of Joy. david o russell to me is always the director that arrives late to cool things. he's good but irrelevant.
and don't forget The Hateful 8, which was shot in 70mm and is the film i'm most excited about.
Quote from: jenkins<3 on July 16, 2015, 12:05:46 PM
btw I've "adult grown" my perspective on film. as to say my personal opinion still doesn't actually give a lot of fucks about film. i give two, maybe three fucks about film. but it's dumb kid shit not to love a thing in your life that you may one day lose forever. so my current plan is to appreciate film and treasure it while it's around, since i'd rather it be here and me think it's a little silly, than for it not be here at all and for me to miss it. btw.
If I'm going to watch a movie, I'd almost 100% prefer it was shot on film. There seems to be so much more nuance to the image. The shadows are bolder, warm colors seem to pop off the screen, and people just look more realistic. These are all very basic examples, we could and have gone on forever about the pros and cons of each. In terms of making a movie, I could never use film. Of course I'd want to, but I don't trust it as a reliable medium when there are so many things to worry about going wrong on set. So, I like watching movies shot on Video to gage where the technology is headed. It's progressing quite nicely, but when I watched 'Gone Girl' I had so many issues with how it looked like a soap opera at times. Fincher is supposed to be the guy pioneering video in filmmaking, but he doesn't seem to care about the craft as much being at the forefront of this technology. As much as I'm delighted in all the possibilities these new cameras will bring us, I think the capacity for them to capture pristine images so easily is making directors lazy.
Quote from: Reelist on July 17, 2015, 09:55:38 AM
Quote from: jenkins<3 on July 16, 2015, 12:05:46 PM
btw I've "adult grown" my perspective on film. as to say my personal opinion still doesn't actually give a lot of fucks about film. i give two, maybe three fucks about film. but it's dumb kid shit not to love a thing in your life that you may one day lose forever. so my current plan is to appreciate film and treasure it while it's around, since i'd rather it be here and me think it's a little silly, than for it not be here at all and for me to miss it. btw.
If I'm going to watch a movie, I'd almost 100% prefer it was shot on film. There seems to be so much more nuance to the image. The shadows are bolder, warm colors seem to pop off the screen, and people just look more realistic. These are all very basic examples, we could and have gone on forever about the pros and cons of each. In terms of making a movie, I could never use film. Of course I'd want to, but I don't trust it as a reliable medium when there are so many things to worry about going wrong on set. So, I like watching movies shot on Video to gage where the technology is headed. It's progressing quite nicely, but when I watched 'Gone Girl' I had so many issues with how it looked like a soap opera at times. Fincher is supposed to be the guy pioneering video in filmmaking, but he doesn't seem to care about the craft as much being at the forefront of this technology. As much as I'm delighted in all the possibilities these new cameras will bring us, I think the capacity for them to capture pristine images so easily is making directors lazy.
Based on circumstances it's likely that film will disappear more for reasons related to projectors and digital cameras/lack of film existing, solid reasons, but reasons unrelated to people's passion for film. In fact, passion for film is currently an artistically hot topic. Artists who like film (people these days are definitely artists after they say they like film, which is adorable) need to adult grow their perspectives as well. Film lovers need to adult grow their perspectives on digital, and consider for a moment that everything wonderful and nutrient and essential for cinema comes from moving images and noise, which don't exist through celluloid alone.
Right now there being obstacles toward improving the quality and condition of digital photography, if digital photography lacks some of the finer features of film, if it's behind film, than ok, than that's the fight, than that's the hard fight and I respect the person who takes that fight on.
Recently I've wanted to go see
Tangerine, which was shot on an iPhone 5S, and it's playing at theaters in LA where the big movies play. I don't think this movie'll make it seem like an iPhone 5S looks better than film. But again, the true pulse of cinema differs from its format, and I like the spirit of
Tangerine.
Quote from: Reelist on July 17, 2015, 09:55:38 AM
Of course I'd want to, but I don't trust it as a reliable medium when there are so many things to worry about going wrong on set. So, I like watching movies shot on Video to gage where the technology is headed.
I've only worked on one project shot on film, as a 2nd AC. It was definitely a more disciplined production than many of the digital productions I've worked on. No endless takes and retakes, because we only had a certain amount of short ends.
So many movies and TV shows have been shot on film, often in the harshest conditions. If you get experienced ACs and a loader, it works out fine. Of course, if you have to send your film off to be developed, as opposed to dropping it off at the lab yourself, that can be scary.
I should've said I don't trust myself working with it, nor do I ever expect to have the kind of budget where using it would be feasible.
Kodak has a new app, Reel Film (https://itunes.apple.com/us/app/kodak-reel-film-app/id1077813627?ls=1&mt=8), that helps you find 35mm screenings in your area
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FIRBSr24.jpg&hash=4af71f55ae46e1346ddc47edb60470ad7ac8e9aa)
So far this year:
Baby Driver, The Beguiled, The Lost City of Z, I, Daniel Blake, and upcoming:
my friend shot this
http://www.kodak.com/consumer/products/ektra/pop-suki/default.htm
^ Really gorgeous
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2Ff0HrP8b.jpg&hash=2d69a67d947a36732b490fa4fb10649822e98c31)
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FM6Cl55h.jpg&hash=87df059a80ab2a50d88c50bf5688b34d5b0e3eb1)
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FG7prGFI.jpg&hash=f6337dc5da19b67eb2f7a7045e0cbe05007a4aea)
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FcA8h5uv.jpg&hash=b9690a7e33063983ab80c6944f4c47b5bcd63c7c)
(https://xixax.com/proxy.php?request=http%3A%2F%2Fi.imgur.com%2FS94nSFK.jpg&hash=24bdd6e89d60622b09cea52b74dccce1ac3bb6f3)
Cool how many projects made celluloid this year:
Baby Driver
Battle of the Sexes
Beach Rats
The Beguiled
Call Me By Your Name
Dunkirk
The Florida Project
Frantz
Good Time
I, Daniel Blake
It's Only the End of the World
Justice League
The Killing of a Sacred Deer
The Lost City of Z
The Meyerowitz Stories
Most Beautiful Island
mother!
The Other Side of Hope
Patti Cake$
Phantom Thread
The Post
Star Wars Episode VIII: The Last Jedi
Wonderstruck
Wonder Woman
Edit:
Quote from: pete on August 03, 2017, 03:24:29 AM
my friend shot this
http://www.kodak.com/consumer/products/ektra/pop-suki/default.htm
That link is dead but it's here
(https://i.imgur.com/Kp6ZeTV.jpg)
From
IndieWire (https://www.indiewire.com/2019/05/cannes-2019-cameras-lenses-cinematography-survey-1202139519/4/):
Quote"The Lighthouse"
Dir: Robert Eggers, DoP: Jarin Blaschke
Format: 35mm Black and White (Double-X 5222) 1.19:1 Aspect ratio. Essentially the anamorphic gate with spherical lenses.
Camera: Panaflex Millenium XL2
Lens: Bausch and Lomb original Baltars set, optically re-spaced for a spinning mirror camera. 35mm, 58mm, 85mm Sasaki-made Petzval lenses. 50mm Pathé-Goerz Triplet
Custom short-pass, orthochromatic-emulating filter from Schneider.
Blaschke: A critical part of Rob Eggers' films is the full immersion of the audience in another world. He wanted a black and white movie from another time and traditional black and white film was the only way to do it. There is nothing with the same tonality and texture – this was solidly confirmed with tests against color film and digital formats. Double-X is 60 year-old technology, for better and worse. It looks perfect for what we were after, but light levels were necessarily 20 to 40 times higher than on "The Witch," and underexposure latitude was much less forgiving. This forces harder, more "lit" looking night scenes, but that was embraced as part of our "Lighthouse" world.
I actually wanted the Double-X to behave like an even older film stock, so a filter was made to prevent all red light from reaching the film. This emulates pre-1930s orthochromatic film that couldn't see orange or red light. Therefore, skies become much brighter and skintones become darker and more rugged/textured. This was another critical element that makes the film feel more broken-down and distant. Balancing the harshness of the film and filter were a set of Baltar lenses that were designed in the 1930s. These are the most luminous portrait lenses I've ever seen, and they add another glowing texture and dimension, rather than cheap gauze. For some hallucinatory sequences we used some 1870s-1900s -style optical designs.
Finally, our aspect ratio suited our boxy spaces, our vertical lighthouse and close-ups in general, which are more numerous this time around. This is a more "photographic" movie than our last together and the 5:6 ratio feels like a window or peephole into the film, echoing the theme of lenses, eyes, openings and apertures that developed. Because of this and other things, the film visually moved from the 1890s toward the 1930s, but in the end I think it created its own kind of past, its own "other" world.
playlist (https://theplaylist.net/best-worst-of-the-2019-cannes-film-festival-20190528/)
To be fair, most of Québécois wunderkind Xavier Dolan's worst tendencies are on display in "Matthias & Maxime." It's a polarizing film sure to be abrasive to many, and yet I completely surrendered to this full-hearted romance. After the dismal theater adaptation "It's Just the End of the World" and a flop sojourn to Hollywood with the as-of-yet-unreleased "The Death and Life of John F. Donovan," the Canadian director successfully returns to his Montreal and queer-themed roots. Dolan himself plays the titular Max—a more adult, dignified turn for the former voice actor—who discovers romantic feelings for childhood friend Matt (Gabriel D'Almeida Freitas) on the eve of departing to Australia. The soundtrack—Arcade Fire, Britney Spears and especially Phosphorescent, one swoons just thinking of its placement—is ace, drawing you further into the melodrama when it could just as easily play like cliché. It's a critic-proof film replete with formal experimentation and romantic abandon. A magnet for criticism, Dolan just doesn't seem to care; "Matthias & Maxime" bravely strives to reach higher tonal registers and mixes in new visual novelties like snap zooms and gleefully indulgent slow-motion sequences. Props as well to the production for bringing a 35mm print to Cannes, making it the only feature besides "Once Upon a Time... in Hollywood" to be projected on celluloid. Dolan's collaboration with cinematographer André Turpin is also woefully under-recognized, and it's a real treat to see Turpin's images on film proper.
2019
Ad Astra
Bait
The Beach Bum
Chained for Life
Her Smell
The Irishman (partial)
The Lighthouse
Little Women
Marriage Story
The Mountain
Once Upon a Time in Hollywood
Queen & Slim (partial)
Ray & Liz
The Souvenir
Star Wars Episode IX
Uncut Gems
Velvet Buzzsaw
Luz
Sunset
Celluloid Lives: Major Studios Renew Deal with Kodak to Facilitate Shooting on Film (https://www.slashfilm.com/kodak-deal-2020/)
QuoteIn a primarily digital era, it seems like even household name directors like Christopher Nolan and Quentin Tarantino have to battle for the right to shoot their movies on film. Those two directors were part of a group which led the charge back in 2015 to convince the studios to sign a deal with Kodak, which resulted in that company staying in business and producing a certain amount of film stock every year. That deal has since expired, but at last night's Kodak Film Awards, word came out that Disney, NBCUniversal, Paramount, Sony, and Warner Bros. have all renewed their contracts with Kodak once again. So film isn't dead yet – and it sounds like it might have a bit of a longer lease on life this time.
The Hollywood Reporter says that the industry's five major studios have struck a new deal with Kodak, which has committed to buying "undisclosed amounts of motion picture celluloid and thus guaranteeing its continued use for the foreseeable future."
NSFtheSqueamish/Possibly NSFW if you're not working remote rn
https://www.youtube.com/watch?v=qUzozVOhGBA
should go in the great shortz thread but i found this one first and well, it's beautifully shot on two different perfs ~
Vinegar Syndrome's Justin LaLiberty maintains this list: Movies Shot on Film 2013 and After (https://letterboxd.com/jlalibs/list/movies-shot-on-film-2013-and-after/by/release/)
West Side Story, but no Licorice Pizza?
What's Up With the Grainy Film in HBO's LA Lakers Drama 'Winning Time'? (https://www.thewrap.com/winning-time-footage-why-grainy-film-cameras-hbo/)
Quote"Our incredible [Cinematographer] Todd Banhazl and his partner Mihai Malaimare [Jr.] devised — Todd devised this style on the pilot, working with Adam McKay, who directed the pilot, and it was really about finding a way to bring the feel, the layered feel of what we're accustomed to seeing in a documentary into the world of a dramatic series so that we can take an audience in a kind of time machine,"
Quote"None of this is a digital effect," he continued. "This is all shot on film. It's shot on 35mm film. It's also shot on a 8mm film. And there's a third camera — the Ikegami, which ... it's like a format that's a predecessor of the Beta."