| Even though it is something that he does, and is good at, it is far more common for D.O.P.s shooting in Super 35 to stick exclusively to zooms. It is mentioned in the Gladiator ASC article, plus also the one for Master and Commander. |
"I haven't lost my mind. It's backed up on my hard drive!"
My only P&S DVDs are Hooper and Remo Williams.
| Just a quick question: Does the Japanese R2 version haved the "As an adult, I want to blow the sick **** out of his shoes" line? |
"I haven't lost my mind. It's backed up on my hard drive!"
My only P&S DVDs are Hooper and Remo Williams.
Xbox Gamertag: badlieut
)
"I haven't lost my mind. It's backed up on my hard drive!"
My only P&S DVDs are Hooper and Remo Williams.
Death to PG-13! And now death to DVNR too!!
"I haven't lost my mind. It's backed up on my hard drive!"
My only P&S DVDs are Hooper and Remo Williams.
| the visual limitations of Super 35 will become obvious to all... |
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| Personally I think that Scott's movies are most similar than different visually, from the first to the last. His editing, however, has gotten faster in keeping with trends. With his mastery at creating amazing vistas and master shots, I just wish he'd HOLD on them a few frames longer! As for zooms, he's ALWAYS liked them, even in "The Duellists." It's one reason for finally shifting to more usage of the Super-35 format; with his penchant for low-level natural lighting effects, the slowness of anamorphic zooms has always been annoying to him. Combine that with needing a lot of cameras for these action epics, then Super-35 is simply more practical. It IS strange that the anamorphic format is becoming more used for intimate single-camera dramas, even for indie films, and less for Hollywood blockbusters. I liked KOH overall. Too many close-ups and zooming shots for my tastes though. But it's interesting to me that despite being labelled as a stylist (which he is), Scott is also such a realist when it comes to lighting. Often characters move through REALLY dark spaces into really bright spaces, with the rooms being lit only by the logical source like a window. And outdoors, actors -- even big ones -- are shot under all sorts of weather conditions and times of day without any supplemental lighting or fill, unless necessary for matching purposes (and even then, I think Scott would rather shoot in mismatching available light outdoors than try and spend the time to light the shot.) I also still prefer Ridley's movies in general to Tony's. Stylistically, I think Tony has mastered all the same tricks and a few new ones, but he's never seemed as interested as Ridley Scott in a cinema containing some real ideas behind all the commercial elements. As for the D.I., I think we all should be honest and say that D.I.'s for big-budget movies have improved tremendously in that last few years. At least we now get 4K scans of the negative, even though downrezzed to 2K, than more-or-less "HD" scans using a Spirit Datacine. Artfiacts are down and "invisibility" is up. I only wish the process were still closer to the look of a contact-print off of the original negative. But in terms of the Super-35 format, you would have never seen a contact-print off of the o-neg anyway, just an optical using dupes before, so I certainly think that D.I.'s have been a boon to that format. It was only in the wide shots in KOH that I wished anamorphic had been used, if not 65mm! The close-ups looked very sharp. In fact, it would be cool if someone would shoot wider shots in a Super-35 movie in 65mm or VistaVision and keep them at 4K or 6K throughout the D.I. chain. It also would have been better to make 70mm prints of KOH. |
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Don't you ever, EVER compare me to "Family Guy," you hear me Kyle? Compare me to "Family Guy" again and so help me, I will kill you where you stand!
Do you have any idea what it's like? Everywhere I go: "Hey Cartman you must like 'Family Guy,' right?" "Hey, your sense of humor reminds me of 'Family...
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Originally Posted by Bill GrandPre
It's actually the exact same disc from the "Hannibal Lecter Collection" box set, right down to the disc artwork. The only difference is the packaging and the fact that it's available individually.
I can confirm that it's the true theatrical cut (in the film's OAR), which is the best of the four cuts available on DVD as far as I'm concerned. The other editions are still worth owning though. Even though the first disc of the Anchor Bay 2-disc LE has that wonky faux-theatrical cut that really has nothing to offer that disc is the only one with the two featurettes ("Inside Manhunter" and "The Manhunter Look") and the second disc has the "director's cut" which is the longest cut of the film available on DVD (there's the aforementioned missing footage from the theatrical cut but more footage added) even though it's sub-VHS quality. The later "Restored Director's Cut" from Anchor Bay has much better picture quality than their previous "director's cut" (the added footage is the only footage that looks awful as opposed to the whole film) but it's missing the added scene from the director's cut between Graham and Chilton so it's a tad shorter. The big selling point on that disc though is the Michael Mann commentary. "Red Dragon" is a much better movie and buying it on DVD isn't such a headache. |
Carl Fink
Insect Politics
