Thread: Stranger Things 3

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  1. #1 Stranger Things 3 
    Senior Member Christoffer Glans's Avatar
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    Watched through season 3 of Stranger Things, which was shot on Thalia and Monstro 8K. I noticed a lot of stuck white pixels throughout. It was visible in every scene, jumping around based on what I presume is a multi-cam setup on each set.

    Why did these make it to the final delivery? First off, I think it's notable that so many of the cameras used showed that much stuck pixels, but I'm also wondering how this got through QC? It's an easy fix in post and not correcting it is really annoying. In some shots, there were stuck pixels right at the center of focus for the shot.
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  2. #2  
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    The only odd thing that I noticed when watching it was that someone seemed to have subtly digitally added film debris/dust, to give it a film-look. I mostly noticed it in the opening titles, where it stood out easily.
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  3. #3  
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    Quote Originally Posted by L. Langer View Post
    The only odd thing that I noticed when watching it was that someone seemed to have subtly digitally added film debris/dust, to give it a film-look. I mostly noticed it in the opening titles, where it stood out easily.
    "Someone?"

    This show has had a "film treatment" applied since the beginning. The colorist is Skip Kimball, who has done the entire series, and he customizes that film treatment, sometimes on a scene by scene basis. Those effects are all by request of the producers, who are using such things to help to invoke the period nature of the story (in the case of the third season, it's 1985). It is not a "mistake", an "accident" or anything else other than a deliberate attempt to enhance the story being told.

    I really don't understand why people here seem to feel a need to imply incompetence on the part of those creating shows rather than finding out why things look the way they look and accepting the results as a creative choice. Personally, the only thing I've seen (based on the first episode, the only one I've watched so far) that I would question is the brightness of the titles in the HDR version (a bit bright for my taste). But that wouldn't be a colorist's choice as the titles are usually composited by the conform/online editor.
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  4. #4  
    Senior Member Aaron Green's Avatar
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    They add a lot of grain in post. The white pixels might be the addition film damage effect.
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  5. #5  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by Aaron Green View Post
    They add a lot of grain in post. The white pixels might be the addition film damage effect.
    It's not part of the simulated 35mm look. These are definitely stuck sensor pixels. They even move on obviously post-stabilized shots.
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  6. #6  
    Senior Member Christoffer Glans's Avatar
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    Quote Originally Posted by M Most View Post
    "Someone?"

    This show has had a "film treatment" applied since the beginning. The colorist is Skip Kimball, who has done the entire series, and he customizes that film treatment, sometimes on a scene by scene basis. Those effects are all by request of the producers, who are using such things to help to invoke the period nature of the story (in the case of the third season, it's 1985). It is not a "mistake", an "accident" or anything else other than a deliberate attempt to enhance the story being told.

    I really don't understand why people here seem to feel a need to imply incompetence on the part of those creating shows rather than finding out why things look the way they look and accepting the results as a creative choice. Personally, the only thing I've seen (based on the first episode, the only one I've watched so far) that I would question is the brightness of the titles in the HDR version (a bit bright for my taste). But that wouldn't be a colorist's choice as the titles are usually composited by the conform/online editor.
    The look of this show is perfectly on spot, it's also a show that has some of the best looking Red imagery ever made. However, the stuck pixels is a QC error if anything, they should not be there. Watching it in UHD will make them stand out like a flashlight in the dark, it's very distracting. Anyone who thinks those stuck pixels are "part of the look" has some serious biases.
    "Using any digital cinema camera today is like sending your 35mm rolls to a standard lab. -Using a Red is like owning a dark room."
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  7. #7  
    Senior Member Brad Grimm's Avatar
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    The original firmware on the Monstro has some serious stuck pixel issues. Seems to improved a lot in the latest update. Also, They had the budget to fix the pixels or buy one more 80s song.. sooo...
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  8. #8  
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    Best looking Netflix show by far, and a true testament of the great imagery monstro produces. Well done to all involved. Loved every second/ frame and shot of it!
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  9. #9  
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    I've seen the entire season without seeing anything, have you got some frames of the pixels?
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  10. #10  
    Senior Member Hugh Scully's Avatar
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    At 3 episodes in, the images look great. The lighting and production design are excellent. The 80s come to life but the story is flagging a bit. The threats are all over the place.
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