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new feature film shot on Panasonic GH2 Driftwood hack


andy lee

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It seems it's quite hard to coherently grade this camera across a feature. Shot to shot Upstream Colour was all over the place, even in the same location. But for that film it work, it added to the confusion.... for standard narrative maybe not so much

 

TBH it's hard enough with raw, when there are so many factors and lighting is predominantly practical.

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I'd doubt that grading coherently is hard becos of the camera.  Most likely they didn't have anyone experienced with lighting on board, or they didn't balance the camera properly or didn't have proper monitoring on set.  I do wedding shoots with completely different lighting throughout the day, from sunny to overcast, from fluorescent to tungsten ... using a grey card and white balancing when the lighting changed does a lot.  If I can balance properly while shooting run&gun stuff such as a wedding I really don't understand why you couldn't do that when shooting a feature.  Especially as the end result suffers.

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I think it looks quite alright. Its terrible when people just judge a movie by its technical setup and shortcomings. Actors and compositions looked interesting, not my kind of movie (not too much into this guy ritchie thing. lock stocks was ok, but after that it got pretty much redundant) but pretty decent. still i wonder why they chose a gh2. if you can afford more than 3 average actors, you can afford to rent something decent. perhaps production fell into the pre ml 5dmkiii, bmpcc or bmcc period. 

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Has anyone shot a feature on a ML 5DmkIII?  BMPCC is even newer.  If this trailer just came out back up to six months ago as a conservative guess for when they rolled on first shot, but this is a film already in theaters so conservatively you're looking at maybe a year ago, and that would be really fast.  

 

Folks who haven't ever made a feature can offer all sorts of Monday Morning Quarterback suggestions.  He might have just used the best camera he had access to.  The MKIII makes some sense if you already own it, not really as a new purchase decision in light of renting other equipment (then or now) or getting a great result out of a camera you might already own, or might get free.  $3-5K can pay for catering.  Nobody here knows the circumstances.  At a time when he could shoot on anything Soderberg chose to shoot a feature on an XL-1S when it wasn't even close to being the best or state-of-the-art for DV cameras at the time.  He had his reasons.  And even when he goes with an expensive, high-quality camera, on his own (The Girlfriend Experience) the result is quite raw and un-finished looking and that's his choice for that project.

 

Odds are ML-RAW wasn't available in this case (if this is recent enough for that then it begs the question: why Sedna?) and, still, I come up with nothing but some shorts being done that way when I google.  This could be a pre-final trailer also.  I couldn't actually see much evidence it was graded at all.  Even though it's on a site taking tickets it could very well be an early trailer, especially dealing with small sales companies.  Smaller outfits in general simply aren't always that great about getting the best or most current materials out there, or going back to re-conform an earlier trailer with final materials. 

 

Looks fairly raw (in the totally un-cc'd sense) to me and as such the lesser looking individual shots could have been improved substantially in grading.  But maybe this was just a purist, wham-bam, no post, warts and all "Dogme" style production where they weren't going to sweat the aesthetics.  Maybe the DP actually was sub-par but try and reconcile the fact that Underwater Love was shot by the same man who does Wong Kar Wai's sublimely beautiful films.  

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 Maybe the DP actually was sub-par but try and reconcile the fact that Underwater Love was shot by the same man who does Wong Kar Wai's sublimely beautiful films.  

 

Christopher Doyle :)

 

Happy Together is one of my favourites, his cinematography is beautiful.

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Oh yeah, he's awesome.  But check out that kappa movie sometime.  I don't see him anywhere in there.  It has the same non-aesthetic as so much of what's done in Japanese low budget filmmaking.  My only point is it would be terribly misleading if someone were to hear what a wonderful DP he is and by chance pick that film to get a sense of his work.

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Yeah right, well sounds like I might give that one a miss :P or is the film actually good?

Oh yeah, he's awesome.  But check out that kappa movie sometime.  I don't see him anywhere in there.  It has the same non-aesthetic as so much of what's done in Japanese low budget filmmaking.  My only point is it would be terribly misleading if someone were to hear what a wonderful DP he is and by chance pick that film to get a sense of his work.

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Yeah right, well sounds like I might give that one a miss :P or is the film actually good?

 

I couldn't really say.  I heard about it but have only so far seen the trailer.  It's a "pinku" musical, in other words, a musical porno (softcore), about a woman who falls in love with a kappa which is this mythical water creature over there.  Very, very Japanese.  It's got some great reviews but, having seen films like Fallen Angels and In the Mood For Love, I just don't understand the why of him and this kappa movie if he wasn't there to make it beautiful.

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