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If @antovolk is correct (and he usually is) about the IMAX format being utilised in key sequences such as the Norway lake, in Matera, and during some of the chase sequences later, we've seen more than a few IMAX shots.
Yup, we've seen plenty for sure, so far.
Oh and btw, i think the sun is too much north to be legit in this shot. At least for filming in September.
https://www.docdroid.net/zVBItTD/american-cinematographer-nttd.pdf#page=35
There are some amazing insights - for me the biggest highlight is that Fukunaga won't be constantly opening and closing the aspect ration from IMAX to 2:35 (much like Nolan did to my annoyance in TDKR) but will instead open the frame for entire sequences (much like Hunger Games: Catching Fire). This is music to my ears. The thought of seeing some proper big spectacle IMAX footage is exciting. Once the DVD release comes, it'll be more exciting as we will see those gorgeous high-resolution images in their full aspect ratio. Unless, they crop for DVD? Any thoughts if they will @antovolk ?
More interestingly, Sandgren spoke of bringing a lush more classic look to the film. This is clear from the trailers, which clearly ditched the more muted and realistic tone. Instead injecting exoticism, colour and glamour.......I Just want more screencaps! Though, for the time being these great new shots will do:
Almost sounds like a magician, like Houdini :D
Obviously yeah as it won't be in the original 1.43 ratio. But will they present the IMAX sequences in full screen 16:9 like on Nolan's films and First Man, or crop it all to 2.40 like Mission Impossible 4, Batman v Superman etc...
The simple answer is that we don't really know yet. Some films open the frame even on DVD....case in point here are screencaps from TDKR:
...and some screencaps from Hunger Games 2:
@QBranch You mean this contra :D
It's interesting to compare this film to the 'other' big spy film this year Tenet. seemingly from that film's trailer, Nolan has gone for a gritty, grainy and overcast espionage feel. Reminiscent of the world of John Le Carre.
In my opinion, it’s what a spy movie in 2020 should look like…..
Meanwhile, Fukunaga has decided to make something more poppy and stylistic. It's more flamboyant and not afraid to play with colour. It's more opulent.
However, the cinematography in NTTD is so outstanding, the best I have seen of any upcoming film. I expect it will be one of my favorite films just from that aspect. I've been excited about this since I first saw some of Sandgren's work on NTTD. Superb work - stunning, thoughtful, and it seems that he and Cary have worked together so beautifully.
https://www.docdroid.net/KjEwmCB/american-cinematographer-nttd.pdf
For what it’s worth, I loved SP’s photography.
How Cinematography In 'Casino Royale' Revolutionized The Bond Franchise | The Art Of Film
Generally, cinematography has been an afterthought for James Bond films. However, when the franchise was rebooted with 2006’s “Casino Royale” (starring Daniel Craig), the cinematography was completely rehauled thanks to director Martin Campbell and cinematographer Phil Méheux, who made two subtle but impactful changes to the cinematography — moving the camera and reflecting the mood. These cinematic principles helped “Casino Royale” feel more authentic. By comparing similar clips of James Bond in “Casino Royale” with clips from older entries in the franchise, the cinematic differences become apparent.
I just found this Honest Trailer for La La Land. It's pretty hilarious. However, one thing that struck me was how much some of the shots look like they could have been pulled from NTTD.
Is NTTD actually an action-movie version of La La Land? No complaints from me there.
Well, better is subjective; the one thing that has always made me partial to the look of CR is its vibrant palette. I’m thrilled to se that NTTD appears to share this quality.
I think with the switching IMAX ratio it's important to set 'rules.' For example, whilst The Dark Knight Rises has amazing IMAX photography, there are no rules to what constitutes an 'IMAX worthy' scene and what would be sufficiently photographed in 35mm. So you have a slightly awkward intercutting between the two.
However, I think Nolan did a terrific job of explaining the parameters of what with 'IMAX worthy' in Interstellar; where essentially all interiors are 35mm and the exteriors/space scenes go full IMAX.
For my money, I think Sandgren and Fukunaga are 100% to have made the decision that when they go full IMAX it will only be for extended sequences. Otherwise it can feel a little ad-hoc and shoehorned in. I am curious how the dialogue scenes were done in IMAX.
I recently washed Battle of the Sexes which was photographed by Sandgren. It's a seriously underrated movie and one I sincerely encourage people to check out. It's very good and incredibly gorgeous. It got my more hyped for NTTD (if that was even possible)
They should call it IMIX.