johnnhud wrote:ok, i understand that super 35mm is going to be grainier than if they had shot it anamorphic. But still, it seems a lot grainier than usual. King Kong was also shot on super 35 but it had none of the grain that I'm seeing here. Perhaps a different "grainier" stock? Perhaps they added grain in post to help give it the '70's look you mentioned?
Hold on - are you talking about the film itself, or a "making of" clip? I can't watch it, whatever it is; no QT. But how would Mattias have seen the cameras they used to shoot the actual film itself in a clip from the actual film itself?
Again, it's Soderbergh, so Mattias is probably right about the manipulation of the image to achieve a look. "Traffic" was basically blue [US], and yellow [Mexico]...
johnnhud wrote:the "making of" clip shows both the film and behind the scenes. The movie is grainy, the behind the scenes is obviously shot digitaly.
Thanks and sorry for making you hold my hand through that; we tried QT, but it gives us 3 stills per 3 min clip on this (street rescued) computer.
I like these Ocean's flicks for non-demanding fun, and Soderbergh usually does something interesting. I'll check it out myself, but do you think it looks good, this grain, does it work for you?
mitch perkins wrote:when is a good time to pick up that wedding footage? (they don't like it floating around; the clients are particularly fussy about this)
jusetan wrote:
I'm in an out 'cause of the long weekend, but can drop it back off at NCL on wednesday (they're closed monday tuesday).
I'm not comfortable with this, but it doesn't look like I have much choice...meanwhile please remove any files of this footage from your computer.
How did you come to accidentally take footage from a lab that was not intended for your viewing, much less your unasked for public critiquing?
It's very common to underexpose the film 2 stops and push process to saturate the color. Also, super-35 is kind of a joke. They have to shoot full gate, block of half the image and then in making the interposive, they add a 1:2 expansion vertically and then reduce the entire frame size slightly. I think this had to be done in 2 generations but don't quote me on it. So basically, you get more grain than 1.85 matte with none of the clarity and all the post problems of anamorphic. I think anybody that shoots super-35 is kidding themselves, though now that digital intermediates are pretty well standard, they can get a little less grain than when they used optical printers to get the image on the intermediary.
"It's very common to underexpose the film 2 stops and push process to saturate the color."
Underexposing film and 'pushing' it in developing will generally lead to an increase in grain and contrast but I myself, have not really noticed an increase in colour saturation doing this. Sometimes there may be a colour shift. Actually, the last slide film that I had film pushed, the colours turned out rather unpleasant and I regret not using a faster film instead and rating it normally.
