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I am super glad he did do SF because it looks incredible, but I think Sandgren is in with a shot of taking his crown, as it were. NTTD looks gorgeous.
Fukunaga is a cinematographer as well, he photographed Beasts of No Nation (great work) so their collaboration is really gonna be dynamite...
Interesting...I'm curious what the BFI IMAX projection will be like.
When I saw Tenet there, the film played in its entirety in the full IMAX ratio The only time the frame was cropped was for the initial title card. Otherwise, it was full IMAX. I wonder if NTTD will play for the entire 143 minutes in the wider aspect ratio.
When I saw Tenet the second time at the cinema, the aspect ratio was cropped weirdly, so some of the screen had a frame around it....which was odd.
Presuming there won't be any IMAX 70mm prints of the film, the BFI IMAX won't present it with the full height 1.43 ratio - there will still be black bars top and bottom of the screen. This is due to the digital projectors at the venue being of the older IMAX Xenon variety that can't physically fill the entire screen, and who knows if they'll ever do an upgrade to laser.
(Though whether one will notice the lack of full height is another question - according to IMAX only half of Tenet's runtime was in 1.43, with the rest in 2.20:1.)
Same as with April, the only way to see the film 'properly' in the UK with the full intended image will be at the Vue Manchester Printworks, which does have laser projection. The Science Museum IMAX here in London is also upgrading to laser and undergoing a major renovation - whether that will be ready in time for NTTD is another matter.
(as to the issue on the second watch - a lot of cinemas aren't following instructions from WB as to how to present the film properly and adjust for the 2.20:1 aspect ratio, as they don't have dedicated projectionists anymore...)
The last 70mm that was projected at Irvine IMAX to my memory was INTERSTELLAR.
Afraid I know for a fact (someone I know reached out to IMAX about this very issue and specific venue) it will be the 'LieMAX' presentation. Won't be 70mm, and the laser projector that Regal installed at the venue is the single-laser model intended for smaller venues, so will only be expanding to 1.9:1.
There weren't any planned for the April release...odds are very very low, especially now with COVID. For Tenet there were about 30 planned and now it's only 13.
@antovolk The digital projector at Irvine used to do the full 1:43 AR. In fact I got to see the prologue of TENET in its full AR just before THE RISE OF SKYWALKER. You’re saying they replaced that projector with a cheaper one? That’s very disappointing.
Currently the IMAX in Irvine was closed due to technical difficulties, which must have been very recent because I had bought a ticket before the closure. Luckily I got a refund.
Either that or the prologue screened off a 70mm film print.
If you told me that the above shot was from Danny Boyle's Bond 25, I'd have believed you. Still a very interesting use of the dutch angle.
Also, just to reiterate my point above, Linus and Cary are really selling the sex this time. I think NTTD may be the Bond film where Craig looks the hunkiest he's looked during his tenure. I mean.....Wow.....What a babe 😍😍😍😍😍😍😍😍
That being said, I do think the way they've shot Craig this time is very flattering indeed. I've often wondered, particularly in CR, why they'd chosen some angles that, well, just didn't do him justice, just like you've so aptly pointed out, @Pierce2Daniel. And good catch on the dutch angle. Appropriate for a boat, methinks, but not for every single scene, a la Boyle.
Kings of cool!
You're wrong.
The sepia filter is cool. It's very 'moody, espionage film' quality to it.....I recently watched Anthropoid and that film ha da similar look.
Hoyte is a legend!
I have worked a lot in movie post-production so I can say with some authority that if I ever signed off on a colour grade like that I'd be fired.
I don't think people have to love SP's look, I certainly don't, but it's not some kind of horrific post-production colour grading mistake that can be fixed with a bit of fiddling in adobe premier.
The camera lenses, set designs, lighting, makeup, and film stocks were all chosen with that look in mind; the colour grading was just the final step in the process.
Edit: What’s up with MongooseFight suddenly being banned?
Lucia's arrival is also one of my favourite SP moments from a visual point of view.
I hope the colours in NTTD are as bright (and natural) as in CR and QOS.
I can't remember: the scene is supposed to be Bond arriving in Matera, but it was actually filmed in Sapri or another place?
That's the panoramic SS18 road connecting Sapri and Maratea.
What we ended up getting in the trailers completely caught me off guard. In my mind I was expecting something along the lines of CR and SF with a lush colour palate but relatively natural, textured and realistic but No Time to Die feels much more impressionistic, colourful, glossy, and somewhat artificial looking (not in a negative sense) and not really in line with anything I've seen from Fukunaga before. So much of it feels soft, romantic, and dreamy possibly due to the abundance of pink and purple, which is an interesting choice for a Bond film.
It's the Fukunaga Sunset Scramble! I think that look is fairly consistent with Sandgren's work on La La Land, and Fukunaga's ominous dreamscapes in True Detective and Maniac.