C. Nolan's Interstellar

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I think the main thing about digital and the main advantage over film is that digital works better with artificial light and film works better with natural light, which is why that movie-that-shall-not-be mentioned looks like crap and Skyfall, which really blossomed with artifical light looks beautiful.

But what made Skyfall even better was that it looked beautiful in natural light, thanks to Roger Deakins.

:huh:

...Which movie?
 
I was going off what Spidey said about not wanting to be reminded of Public Enemies. :funny:
 
I think the main thing about digital and the main advantage over film is that digital works better with artificial light and film works better with natural light, which is why that movie-that-shall-not-be mentioned looks like crap and Skyfall, which really blossomed with artifical light looks beautiful.

But what made Skyfall even better was that it looked beautiful in natural light, thanks to Roger Deakins.

Huh? The one advantage digital always had over film was that it was able to obtain more information from natural lights without the help of artificial lights. Hence why Collateral looks so unique because it was lit almost exclusively with practical LA street lights. Plus, the Shanghai scene in Skyfall was lit entirely with the LED billboard lights and had absolutely no artificial lights. Same with the Macau casino interior, lit entirely with practicals.
 
Huh? The one advantage digital always had over film was that it was able to obtain more information from natural lights without the help of artificial lights. Hence why Collateral looks so unique because it was lit almost exclusively with practical LA street lights. Plus, the Shanghai scene in Skyfall was lit entirely with the LED billboard lights and had absolutely no artificial lights. Same with the Macau casino interior, lit entirely with practicals.

Did NOT know that. The Shanghai one in particular is surprising. Nice one, Deakins.
 
Huh? The one advantage digital always had over film was that it was able to obtain more information from natural lights without the help of artificial lights. Hence why Collateral looks so unique because it was lit almost exclusively with practical LA street lights. Plus, the Shanghai scene in Skyfall was lit entirely with the LED billboard lights and had absolutely no artificial lights. Same with the Macau casino interior, lit entirely with practicals.

...And that's why cinematography was never my strong point. :funny: I should know that considering I worked with both and it is cheaper and easier working with digital.

I should explain better. I meant that I think natural light, when done right, looks better on film than digital and that when I mean artificial light, I meant LEDs in Shanghai, not ARRI or film lights.
 
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Did NOT know that. The Shanghai one in particular is surprising. Nice one, Deakins.

Deakins himself says that film would not be able to get the silhouettes that the Arri Alexa got with simply those LED lights.

I should explain better. I meant that I think natural light, when done right, looks better on film than digital and that when I mean artificial light, I meant LEDs in Shanghai.

Artificial light means lighting that you don't see in the frame but that exists outside of it to light it. The LED lights that you saw in the frame were the only lights lighting the entire thing, without any artificial light whatsoever. So the LED lights in this case would be practicals, natural lights.
 
I should also mention that 95% of Prometheus' interiors were also lit with practical LED lights. Welcome to a new dawn of incredibly powerful and natural light efficient digital cameras.
 
Deakins himself says that film would not be able to get the silhouettes that the Arri Alexa got with simply those LED lights.



Artificial light means lighting that you don't see in the frame but that exists outside of it to light it. The LED lights that you saw in the frame were the only lights lighting the entire thing, without any artificial light whatsoever. So the LED lights in this case would be practicals, natural lights.

Read that quote again, he said that it would have been difficult, would have taken a while to set up. He never said that it was impossible. And lets not act as if backlit cinematography is the be all end all of film visuals.
 
I've just seen the Skyfall fight scene thrown around a lot lately by many people as some kind of argument for the death of film even though it is such a specific and limited scene, striking though it may be.
 
Film still has a place. I still sense a "warmth" from film that is not present even in the best of digital, like Skyfall. Beautiful as that film is, it still feels too "cold". The Master is also a great showpiece for the place of film in this world. Skyfall was the best looking Blu-Ray released for the first quarter of 2013, only to be topped by the Master's arguably even more jawdropping transfer.
 
Film still has a place. I still sense a "warmth" from film that is not present even in the best of digital, like Skyfall. Beautiful as that film is, it still feels too "cold". The Master is also a great showpiece for the place of film in this world.

I'm not a fan of The Master by any means, but man is it one beautiful film (the dialogue scenes in particular are masterfully staged). If anything, Nolan should probably look at PTA's usual cinematographers, Robert Elswit and Mihai Malaimare, for Pfister's successor.
 
Deakins himself says that film would not be able to get the silhouettes that the Arri Alexa got with simply those LED lights.



Artificial light means lighting that you don't see in the frame but that exists outside of it to light it. The LED lights that you saw in the frame were the only lights lighting the entire thing, without any artificial light whatsoever. So the LED lights in this case would be practicals, natural lights.

Yeah, I usually refer to them artificial lights and natural light as things like sunlight, etc. I think we're on the same page but just using words for different meanings.
 
I hope Nolan integrates longer shots, like Kubrick. I love when they did it in TDK with the GCPD rooftop/Joker & Rachel scars/Bruce attacking the gunman in his penthouse. Was surpsrised they didn't utilized them in Inception or TDKRises
 
https://***********/ErikDavis/status/310850286409367552
Please let this mean that JGL is in the film. I would like Nolan to work with different actors as well but I'll be doing a happy dance if he is in Interstellar.
 
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Ive been dreaming of the day that my favorite director makes a time travel themed film. This is it. I cant wait
 
I demand robots riding weaponized dinosaurs.
 
JGL staring vehicle perhaps?
Ive been dreaming of the day that my favorite director makes a time travel themed film. This is it. I cant wait

I want to see a Nolan horror film.
 
I hope Nolan integrates longer shots, like Kubrick. I love when they did it in TDK with the GCPD rooftop/Joker & Rachel scars/Bruce attacking the gunman in his penthouse. Was surpsrised they didn't utilized them in Inception or TDKRises
i agree. the shots looked good and the movement supported what was happening right there with the story. that was some good filmaking.
 
I hope Nolan integrates longer shots, like Kubrick. I love when they did it in TDK with the GCPD rooftop/Joker & Rachel scars/Bruce attacking the gunman in his penthouse. Was surpsrised they didn't utilized them in Inception or TDKRises
Imax time restrictions?
 
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