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I now triumphantly return with even more visual storytelling examples from Brian De Palma’s epic thriller DRESSED TO KILL:
To reiterate…the most effective use of this optical device is to emphasize a story point and for it not to be a visual gimmick. De Palma incorporated this technique across every film he directed and it is a staple of his visual style.
PIXELS / RESOLUTION / SPATIAL FIDELITY
Steve Yedlin is the DP of Star Wars: The Last Jedi, Looper, Brick and numerous other films. His quest and passion for Spatial Fidelity is legendary. He just released an in-depth video analysis of six high-end filmmaking cameras.
His 67-minute video pulls back the curtain on the truths of resolution and image quality that all filmmakers have been struggling with in this constantly evolving technical world. His empirical testing shows that resolution (HD/2K/3K/4K/6K/8K/11k) is not the most important component of image capture and that Spatial Fidelity is by far the most important concept for delivering the ultimate image.
His term “Authoring the Image” encompasses many elements including: resolution, perceived sharpness, pixel count, lens choice, sharpening, compression, perceptual differences, grain, halation, optical aberration and order of operation.
The Hateful Eight resurrects the glorious Ultra Panavision 70 format with the uber-wide 2:76 aspect ratio. The 65mm film used to capture the format combined with 1.25x anamorphic lenses creates the final wide image projected at 70mm. Most of us have never and probably will never shoot in the Ultra Panavision 70 format but that doesn’t mean we can’t replicate the aspect ratio.
In honor of the glorious return of the Ultra Panavision 70 aspect ratio…
I’ve packaged the 2:76 templates in all 8 resolutions for your next project.
These PNGs (HD/2K/3K/UHD/4K/5K/6K) will work in any NLE or VFX software.
Just drag and drop above your footage.
Until next time…
Sometimes creativity can be triggered by one seemingly irrelevant thing. Sometimes that one thing can be right in front of you…hidden in plain sight. In my case that one thing was a stretch of winding road by my home that has thousands of reflectors on the median. I’ve driven this road hundreds of times. At night, the reflectors whiz by in a frantic blur and it suddenly reminded me of a video game I played as a youth…Atari’s NIGHT DRIVER. Read more…
Cinefex is an amazing quarterly magazine that came out in March 1980. Growing up…I remember trolling my local bookstore in Detroit and always hoping that the new edition of this square magazine had arrived. It was my first opportunity to see behind-the-scenes photos of current movies and in-depth interviews with the filmmakers involved. The techniques and secrets revealed in Cinefex are as relevant and useful now as they were 30 years ago. Every filmmaker should get their hands on a copy…and now it’s going to be easier to do that.
Color correction is just one step of the entire filmmaking process…but oh, what a difference it can make. You can take average footage and really make it pop, sing and enhance the viewing experience of your project. If you have excellent footage, then the sky is the limit. You can also make images look garish, ugly and destroy all the hard work the crew did to capture those images on the day of the shoot. The challenges and choices are many and it comes with great responsibility if you are the one applying the Color Correction and Color Grade.
The first time I met Shane was at Bandito Brothers last year, when he and the Director Po Chan asked me to edit “The Last 3 Minutes.” I had worked for the Banditos as a freelance editor for 3 years and had cut dozens of projects there, but never crossed paths with Shane. When I did get a chance to meet him, I realized that this man is a force of nature and has more enthusiasm for filmmaking and sharing his knowledge than anyone I’ve ever met. He asked me to guest blog about editing, so allow me to pull the curtain back on the workflow, mindset and process of Editing Shane…