Make a movie with a great 70mm frame and a 1: 2.76 ratio in The Hateful Eight

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Make a movie with a great 70mm frame and a 1: 2.76 ratio in The Hateful Eight
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Make a movie with a great 70mm frame and a 1: 2.76 ratio in The Hateful Eight

Quentin Tarantino filmed almost 35mm films, the only time he ever experimented digitally when he was guest director for Robert Rodriguez’s Sin City. The Oscar-winning director for Pulp Fiction makes his eighth movie return to the genre of westerns after the movie Django Unchained, which is also his first collaboration with filmmaker Fred Raskin, ACE. Guardians of the Galaxy, Fast & Furious).

Set in Wyoming in the 1870s, The Hateful Eigth puts a group of exotic figures in a secluded location in a blizzard in which no one can be trusted. Filmed by Robert Richardson, ASC and released in 70mm film format, the visual style helped reproduce this era.

“Digital video recording can not be an option because it immediately creates a dummy element in the process,” says Raskin. The warmth and density of the film’s heavy interference contribute to the realities of the film’s period. And of course the way Bob Richardson lighted and the composition in frame 1: 2.76 combined makes this movie astonishing. ”

The visual style of the film is classic Hollywood, but is characterized by Tarantino. Many features of the director have appeared: split-field diopter and half-face scenes of the characters are talking to each other. “I think we should probably keep the scene longer than ever thanks to the 70mm format and frame rate of 1: 2.76.

When the image is so intense and so well structured, cut to the other corners when really unnecessary makes people feel guilty. Vibrating shakes that are popular in modern Hollywood movies can not be found in this film. If the camera is moving, it should be on the dolly. This kind of image contributes a lot to the air of tension and fear built up throughout the length of the film. ”

Post-recording footage was transferred to FotoKem in Burbank for printing. The 65mm film rides every day to rip, print, scan and create drafts. All film scanning corresponds to the color produced during color timing because a custom LUT is used to simulate a 70mm print. FotoKem also restored an old 70mm Prevost filmmaker from the American Academy of Arts and Letters to support the audio sync process for the 70mm draft, which adds DV40 sound to the table. make this movie.

“Whenever I finish work with Quentin during the day, I will review the work we have done and adjust many things in it. Then I again took the segment I completed for my builder the next morning so that the film crew could create a build on the plastic that we completed the day before. We had to let the film crew make that kind of plastic so that when we finished a part of the whole movie, it was only a matter of a day before we could play the rough version. ”

Completion of the photochemical processing, including the timing of the audio and color timing, means that Raskin and Tarantion must lock the build before starting the mix. “The advantage is that we can spend a lot of time concentrating on harmony,” says Raskin. The disadvantage is that our filmmaking period is reduced to one month. ”

When they were at a shooting location in Telluride, Colorado, the production team placed a 70mm projector at Mason’s Hall, a screening room used during the Telluride Film Festival. When the original image came from FotoKem, two assistants Paula Suhy and Michael Backauskas synchronized the sound. At the end of each day, we went to Mason’s Hall to show pictures of the two days before.

Everyone in the cast and crew are invited to see. One of our producers will give notice to everyone before each show. “Welcome back to the greatest show of Telluride! That’s a great way to end a day. Returning to LA when we worked on the director’s cut, the filming crew had to prepare a weekly screening of the new segments at the DGA headquarters for a memorable look. What is a 70mm projector?

“Quentin and I will be sitting in the fourth row at the DGA 1 theaters with a grinned laugh, immersed in the vastness of the 70mm image. The color of the film is generally richer than that of Avid, and the details are amazing. Sitting close will make a huge difference in terms of enjoyment compared to the projection on Avid to the cinema. If we have follow-up action at close range then we understand segments that do not cut too fast. ”

Stage recording needs several segments shot when the snow falls. So the cast (including Kurt Russell, Channing Tatum, Samuel L. Jackson and Jennifer Jason Leigh) have to remember the whole script from the first day. If they see snow, they will film a segment, otherwise, they will spin another segment. “Because people understand the script well enough, Quentin can film an 11-minute long if he wants to, so this is absolutely great for acting.” Raskin added, “I’ve seen theatrical excerpts. wonderful every day This also foreshadowed some of the options for setting up my film;

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There are a lot of scenes in the movie that last a few minutes thanks to this technique, and of course, the trick is to find the right time and place to cut the corners. In other digital recording projects, I could pair the action from two different angle angles, but Quentin wanted to keep most of the film as it was shot. Quentin does not like digital tricks. Instead, the goal is to create the best version of the movie using the original image just as it was recorded, rather than using the ‘Frankenstein’ technique to put things together.

Having finished the film and screening, Raskin remembers the first time watching a group of enthusiastic but skeptical people. “It was no longer watching the movie but watching the audience react. Having a good audience is a powerful blow. Play them laughing, screaming and clapping – You know they are in the movie and like it. – This makes hard work and hours of work worthwhile. ”

Source kodak.com

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