Miami Vice

[Blub06]

Collatoral was shot on video with the same director, I would guess this FILM was shot on video, the look has a video quality about it. As good as a vericam and CineAlta look there is still a video quality about them. As far as the color and other issues, I have seen this look many many many times. Can you say green… the grit and contrast seems to always be married to green. Fight Club, 7, Matrix etc.

Chris

[Donatello]

is shooting with the cinealta & viper (used in collateral) considered VIDEO ??

[Louis]

Ah, that explains it lol. Do you guys enjoy the look? I can’t say I would like this for say a comedy or drama but for action I really enjoy it. It seems to be “raw” I guess is how I would describe it, it makes me feel a little closer to it also. I’ve noticed the color scheme lol, it seems green for action, grey for drama/horror and saturated colors for comedy. Those have been my latest observations at least.
Louis

Collatoral was shot on video with the same director, I would guess this FILM was shot on video, the look has a video quality about it. As good as a vericam and CineAlta look there is still a video quality about them. As far as the color and other issues, I have seen this look many many many times. Can you say green… the grit and contrast seems to always be married to green. Fight Club, 7, Matrix etc.

Chris

[Todd Mcmullen]

I beleive Miami vice used both film and the Genesis from panavision. The Hd stuff would have been shot at night. Film During the day.
I could be wrong but I beleive that was workflow.

Todd McMullen
Flip Flop Films
Austin
Cinematography Forum Leader

[Louis]

Ah, that’s great to know. It really had me wondering, lol. I can’t wait to see how it feels as a whole.

Louis

[Tony]

Plus Eight Digital supplied Viper Camera’s and SRW 1 vtr’s (HDCAM SR) along with Sony F900’s for the shoot.
The movie shot in 4:4:4 RGB mode which is processed not filmstream raw data.

35mm Film cameras were also used for portions of the movie.

The soon to be released Superman movie used Panavision’s Genesis.

Tony Salgado

[Louis]

Wow, lol, you guys are amazing.

Louis

[Brad Steiner]

There were some great article in Milimeter (i think) about the production workflow of Collateral. Video offered them better images in low light than film would, I read. Production was generally faster too becuase existing/natural lights were used more often.
Second hand knowlege I know, but Milimeter (and others) might have articles archived.

my two to three cents.

BrAd

Praise to the COW

BrAd Steiner
ImageWorks Media Group

[Blub06]

I think any Kodak or Fuji film with an ASA of 500 pushed one stop and shot with fast primes would blow away any video camera with respect to noise, image quality and speed (exposure). Thirty years ago the European DPs were showing us all how they could shoot with natural light and get great results. Nester Alamendros and others shooting American films 20 years ago did the same in the US.

If you are a producer or DP of a “film” shot on video would it not be in your interest to say everything and anything that states that you did the right thing shooting in video for all the right reasons and results? Look at it the other way, do you ever expect a producer or DP to say, gees we screwed up on this one, shot it in video, boy was that a mistake.

I don

[Tony]

Just because the trade mags post the hype does not mean any of it is true or factual.

I attended in person a meeting where Michael Mann spoke about his experiences with Collateral and it was quite a different story than the Millmeter article mentioned.

Regardless of what equipment is used the most important piece of “equipment” will always be the crew behind the gear.

People not equipment make the images memorable.

Tony Salgado