AaronChicago

Keep in mind that Villeneuve isn't a writer on any of his big films. The only problems I've had with some of his recent films are story related. I think he's a super talented director.

They said that Goseling isn't a replicant in an interview and that it won't be the core of this film. Although you're right about Deckard aging. That answers that unless they reference aging components.

Haha. I love Red Letter Media.

That was Bradford Young who has a really dark style. I kinda liked it for Arrival. Usually those types of movies are bright and flashy.

Definitely renting the Varicam LT next time I have a night shoot. The UM46K is okay with fast lenses but sometimes I really wanna push to ISO 3200 or 5000.

Yeah music has just gone completely off the rails IMO. I'm thinking the future of visual story telling is in television. Cinema will still be around but it'll be more of a spectacle. On that note - I think BR2049 will be memorable even though it's a sequel. The last 2 films Villeneuve made are still standouts in my mind from the past 2 years: Sicario, and Arrival.

I love original too. There are some properties where I get nervous at announcement such as Star Wars Ep VII. I had the same cringe moment at Blade Runner sequel announcement. After seeing the team assembled (Denis Villeneuve is in my top 3 current filmmakers) and now seeing the trailer I'm super stoked.

I'm not so sure that this is all color grade. Little is known about the production thus far but Deakins is always adamant about shooting as much "in camera." Colored lighting is gaining a lot of popularity, especially with the advanced LED's and color control. Obviously the desert shots are over saturated to orange, but I think everything else might be motivated by existing lights in a scene. At the very least motivated by projector walls. Rogue One lit most of their space battles with giant projector walls displaying the space battle atmosphere. It looks natural, and less computer generated. I'm sure that Denis had a big influence on color as well. He might not have wanted natural skin tones running throughout. That's more of a style choice.

Interesting. I wouldn't be surprised to find little subtle references everywhere. I'm guessing in the movie it'll be a specific date, which is 2 years after the original Blade Runner took place.

This looks amazing. I think Denis can add a new depth to Blade Runner that didn't exist. The visuals are a win - that's a given.

@hyalinejim Great job with making the Panasonic reds less orange and ACTUAL red. Here is a shot where the tubes were solid red, the poker table was red, and the guy's shirt was red/black. It was looking a bit orange naturally till I added your LUT.

Sure.

@Emanuel @deezid I didn't change anything on NR so I'm guessing whatever is standard. I still need to mess with that. It's possible that the ProRes conversion did something funky, but I used the original GH5 file in the Vimeo clip. Here is the original file straight from the camera: https://www.dropbox.com/s/51cdjfj495nivdn/P1000088.MOV?dl=0

@hyalinejim that cover screenshot on Vimeo is on point! That shot itself is epic.

@deezid what kind of filtering where you using for motion cadence?

With travel, I would bid on the full job at one price, and make a note that says excluding travel fees which are paid by the client.

The Varicam sensor crushes the C100/FS7/FS5's. $6500 is a great price. They'd have to cripple something in order to not cannibalize the Varicam LT.

If you keep your camera locked off it should be fairly simple. If you're in a natural light situation make sure you film both takes within a few minutes of each other. Get a stand-in that looks similar to the talent to act out scenes for eyeline. Also if you need to do over the shoulder shots it helps to have a stand in that looks like your talent (back of their head, shoulder area).

That would be great. Although what would separate it from the Varicam LT other than dual ISO? It would be half the price.

Just to be clear I didn't have the pro mist filter on the comparison.

-5. I normally use a black pro mist 1/4 to help take the edge off. The UM Pro has the same sensor as the 4.6K so from what I understand its the same image, just enhanced features.

Masters Of None is shooting on the Varicam 35.

Very possible. The GH5 handles shadows better than the GH4 from what I've seen so far.

I have Aputure LS1s, and COB120t. Quasar Science: two 4' 5600K tubes, and two 4' 3000K tubes. Other than those I use an Arri 650, and a 6 x 6 diffusion screen.

The problem that I ran into, as well as Kholi, is that you can make adjustments to match the UM46K for her (the actress) but some of the green/yellow stuff isn't possible to fix with one overall LUT. I tend to worry less about skin tones with a LUT b/c the face can be keyed or masked and adjusted. For Kholi's I was push her skin more toward magenta with a little more saturation.