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AnalogRocks
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| Posted: Sun Feb 24, 2013 4:59 am Post subject: Skyfall |
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Just watched this movie tonight. There's something about the look of it that just doesn't look right to me.
Anyone else notice this?
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WanMan
Joined: 19 Mar 2006
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| Posted: Sun Feb 24, 2013 2:13 pm Post subject: |
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Hmm, were you thinking (George Costanza) "I think it moved." ?
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Ron W
Joined: 07 Aug 2009
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Location: Mississauga
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| Posted: Sun Feb 24, 2013 5:36 pm Post subject: Re: Skyfall |
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| AnalogRocks wrote: | Just watched this movie tonight. There's something about the look of it that just doesn't look right to me.
Anyone else notice this? |
I believe you are right. I thought for a moment I had to do a complete CMS on my television as the movie seems to have somewhat of a more "yellowish/orange" tinge to it quite prevalent on the outdoor scenes during the day and skin tones. I have seen filmmakers do this before with some movies when they film the movie with a certain colour filter on it to give it a certain "look", whatever that is. Good movie though and for those that haven't seen it yet and may not know(I didn't), a surprise with regard to the current "M"(Judy Dench).
By the way, with my radiance "Mini", I did a complete grayscale and CMS calibration again just to verify the above.
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AnalogRocks
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| Posted: Sun Feb 24, 2013 8:53 pm Post subject: |
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| WanMan wrote: | | Hmm, were you thinking (George Costanza) "I think it moved." ? |
Anything to do with Seinfeld is lost on me. I hate that f%^$ing show.
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AnalogRocks
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| Posted: Sun Feb 24, 2013 8:54 pm Post subject: Re: Skyfall |
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| Ron W wrote: | | AnalogRocks wrote: | Just watched this movie tonight. There's something about the look of it that just doesn't look right to me.
Anyone else notice this? |
I believe you are right. I thought for a moment I had to do a complete CMS on my television as the movie seems to have somewhat of a more "yellowish/orange" tinge to it quite prevalent on the outdoor scenes during the day and skin tones. I have seen filmmakers do this before with some movies when they film the movie with a certain colour filter on it to give it a certain "look", whatever that is. Good movie though and for those that haven't seen it yet and may not know(I didn't), a surprise with regard to the current "M"(Judy Dench).
By the way, with my radiance "Mini", I did a complete grayscale and CMS calibration again just to verify the above. |
Maybe because it was shot on the AriFlex digital cameras. There's something not quite right there.
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WanMan
Joined: 19 Mar 2006
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| Posted: Sun Feb 24, 2013 8:58 pm Post subject: |
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I'm surprised they continue to use physical filters, Ron. The software out there and in use for movie making (professionally speaking) usually does all the colorations as part of a post production stage. There are several software 'commercials' posted on Vimeo about color PP for studio-grade movie productions. Quite surprising, really.
And for once I didn't allow the technical aspects of the movie interferer with the story. Maybe it was the story that distubed me more than the technical aspects.
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ecrabb
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Joined: 13 Mar 2006
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| Posted: Sun Feb 24, 2013 9:04 pm Post subject: Re: Skyfall |
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| AnalogRocks wrote: | | Maybe because it was shot on the AriFlex digital cameras. There's something not quite right there. |
Yeah, because there's only another 20 or 30 big movies that have been shot with the Arri Alexa.  This is just the big stuff in the last year or so: The Avengers (which looks *outstanding*), Argo (just watched it this weekend - very nicely shot), Zero Dark Thirty, In Time, Hugo, and the list goes on.
I've seen In Time, Skyfall, and Argo in the last three weekends. All were shot on Alexa, and all three were beautiful in their own rights. If the film has "a look", then it's because that's the look that Sam Mendes and his DP decided they wanted.
Jeremy, is your set calibrated?
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AnalogRocks
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| Posted: Sun Feb 24, 2013 9:52 pm Post subject: Re: Skyfall |
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| ecrabb wrote: | | AnalogRocks wrote: | | Maybe because it was shot on the AriFlex digital cameras. There's something not quite right there. |
Yeah, because there's only another 20 or 30 big movies that have been shot with the Arri Alexa. This is just the big stuff in the last year or so: The Avengers (which looks *outstanding*), Argo (just watched it this weekend - very nicely shot), Zero Dark Thirty, In Time, Hugo, and the list goes on.
I've seen In Time, Skyfall, and Argo in the last three weekends. All were shot on Alexa, and all three were beautiful in their own rights. If the film has "a look", then it's because that's the look that Sam Mendes and his DP decided they wanted.
Jeremy, is your set calibrated?
SC |
Haven't seen any of those movies you mentioned. I'll let you know if they look wrong too.
This D50 is high hours. Not calibrated. HOWEVER everything else looks good. Hence my therory it's something about the way they shot it or the way the DP and director color timed it. Just didn't look quite right.
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Ron W
Joined: 07 Aug 2009
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| Posted: Mon Feb 25, 2013 10:12 pm Post subject: |
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| WanMan wrote: | I'm surprised they continue to use physical filters, Ron. The software out there and in use for movie making (professionally speaking) usually does all the colorations as part of a post production stage. There are several software 'commercials' posted on Vimeo about color PP for studio-grade movie productions. Quite surprising, really.
And for once I didn't allow the technical aspects of the movie interfere with the story. Maybe it was the story that disturbed me more than the technical aspects. |
I would suspect in this day and age you are probably right and my idea of a filter was strictly a generic description with really no idea how they did it. It is kind of interesting though that when talking about this, two rather significant movies in recent years that come to mind that used this technique to secure a "look" was the "Matrix" trilogy with their "green" accent coming in and out of virtual reality and before that, even more off the chart was "Minority Report" with its very high contrast blue/green accent. Although I liked the movie, "MR" because of this, was, at times and for any length of time hard to watch and I really had no idea the reason behind that "look".
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ecrabb
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| Posted: Mon Feb 25, 2013 11:13 pm Post subject: |
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| Ron W wrote: | | It is kind of interesting though that when talking about this, two rather significant movies in recent years that come to mind that used this technique to secure a "look" was the "Matrix" trilogy with their "green" accent coming in and out of virtual reality and before that, even more off the chart was "Minority Report" with its very high contrast blue/green accent. Although I liked the movie, "MR" because of this, was, at times and for any length of time hard to watch and I really had no idea the reason behind that "look". |
This is actually very common, and in reality, nothing new at all. The way its done now is different, but movies have been "color timed" to achieve a certain look and feel since the beginning of color film. Pretty much every single movie is color-timed to a specific look, but all to varying degrees.
Moves like Minority Report or the Matrix were more noticeable. They used a blue/green "filter" (actually, we're talking about software filters, not typically optical filters) to give the movie a futuristic, cold, maybe dystopian feel. Bleakness, coldness, or harshness.
On a western, historic, or romantic film, a director and director of photography might elect for yellows, reds, and oranges, to impart warmth, history, romance, or nostalgia. That's just the color balance. They also play with contrast, gamma, saturation, and even "grain" or "noise". Over-saturating can be playful, dramatic, exciting, muted colors can be again, nostalgic, hot, dry, dirty, etc.
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