FCPX, 65mm, 16mm, McCartney

[Michael Gissing]

Interesting article. Oh to have the budget for nostalgia. Apart from saving money in the final grade, shooting on film must have added a large cost. I’m not sure I understand why apart from just wanting to.

I always wonder why film makers don’t get a doco camera person to film so called reality scenes. We really don’t shake and wobble that much. Also modern telecines don’t have that much weave. Thank goodness they didn’t add scratches or edge fog.

[Oliver Peters]

[Michael Gissing] “I always wonder why film makers don’t get a doco camera person to film so called reality scenes.”

I suspect that was by design in order to make the difference between the two realities that much more striking.

[Michael Gissing] “Also modern telecines don’t have that much weave.”

Hmm… I didn’t see any more weave in the 16mm than I’ve seen in order 16mm material. That was scanned by Co3 in NYC after first being scanned with the wrong color profile in London. The photo of the DP shows him holding an Aaton, but I don’t know if that was specifically from this shoot or just a generic image.

– Oliver

Oliver Peters – oliverpeters.com

[Michael Gissing]

[Oliver Peters]”Hmm… I didn’t see any more weave in the 16mm than I’ve seen in order 16mm material”

I was referring to the fake weave they put on the title and credit cards. The actual 16mm is fine.

I’m sure the camera shake and jerky moves were by design. However they are not based on the actual reality of shooting doco. It’s a faux doco exaggeration which annoys me.

[Greg Janza]

65mm?? I would venture to guess that 90% of viewership will be on a smartphone with a 3 inch screen. Good thing money is no object for Paul.

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[Warren Eig]

65mm same with Tarrantino’s “Hateful Eight.” Shot 65mm– great for wide screen vistas à la David Lean, and 95% of the movie is shot in a dark, cramped cabin…

Warren Eig
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