The Public Enemies Look

[Stefan Christou]

I don't like the funny perspective on smaller formats. Even s35 is a bit funny compared to FF35 and medium format.

Does that make ME a bad person?

[Jay A. Kelley]

I heard from many people that the sound mix was horrible... So bad it was hard to understand the actors.

Could have been an error

[David Mullen ASC]

Sanjin should send a letter thanking Michael Mann for not choosing the Red One camera... because Mann would have insisted on making it look very video-ish and then everyone would now be blaming the camera and thinking that's the way Red footage naturally looks.

So Red dodged a bullet...

[Sanjin Jukic]

Sanjin should send a letter thanking Michael Mann for not choosing the Red One camera... because Mann would have insisted on making it look very video-ish and then everyone would now be blaming the camera and thinking that's the way Red footage naturally looks.

So Red dodged a bullet...

David,

maybe I should do it but to add that Michael Mann if he would use RED1 for sure could get totally different and better images even though he was looking for a sort of "extreme video-ish" look.

[Evin Grant]

Just got back from seeing this...

I think Mann was going for "Cloverfield" meets "The Untouchables". I think the look was supposed to convey a hyper-real, "if a man (Mann) had a hi-def video camera in 1933 and was able to tail Dillenger..." this is what it would look like. I can't say I'm very fond of it but it did seem purposeful.

[David Mullen ASC]

David,

maybe I should do it but to add that Michael Mann if he would use RED1 for sure could get totally different and better images even though he was looking for a sort of "extreme video-ish" look.

That's not true, Sanjin. Even Jim Jannard conceded that the F23 had better dynamic range than the Red One after Claudio Miranda posted his comparison test. I'd say that the color depth / space of the F23 was also better than the Red One. So what does that leave? That the Red One has somewhat better resolution and it has 35mm depth of field. So "totally different and better" is an exaggeration.

You could just as well say that Mann could have gotten totally different and better images from the F23 if he had wanted to, but since he didn't, why would he take a different approach with the Red?

It's just not sinking into some people's head that what Mann did to the F23 is not indicative of how film-like it can look, that he deliberately limited its dynamic range, the color depth, and added a lot of edge ehancement, plus turned off the shutter -- all of which contributed to a video look. He could have timed Red footage to match, all except for the depth of field difference.

If you've seen some of the assessment tests of the different cameras out there shooting the same subjects, you'd see that the F23 does quite well and that the Red One does not radically outperform it.

If you don't believe me, go out and shoot your own comparison tests.

[Sanjin Jukic]

Just got back from seeing this...

I think Mann was going for "Cloverfield" meets "The Untouchables". I think the look was supposed to convey a hyper-real, "if a man (Mann) had a hi-def video camera in 1933 and was able to tail Dillenger..." this is what it would look like. I can't say I'm very fond of it but it did seem purposeful.

I didn't like "Cloverfield" so much because the story was so kinder-ish and a little bit dull.

I like extreme video look of "Redacted" by Brian de Palma because cheap handheld video is a strong part of the story or video look parts

"In the Valley of Elah" by Paul Haggis also were the cheap touristic video is a part of the story.

One more thing I would like to say at the end that by look of trailer I like PE extreme video look, also MM as a director has got a certain "digital charisma"

in the eyes of younger moviegoers and that's my point where I could maybe figure out that "Sony Boys" "picked" him up to show that Sony digital technology

still has leading role in digital age. Of course they paid for that "behind the scene/curtain" even if the movie was not released by Sony , it released by Universal Pictures.

Big studios always had deals between each other as we should know it. BTW, also it's a good idea for a great triller.

[Sanjin Jukic]

That's not true, Sanjin. Even Jim Jannard conceded that the F23 had better dynamic range than the Red One after Claudio Miranda posted his comparison test. I'd say that the color depth / space of the F23 was also better than the Red One. So what does that leave? That the Red One has somewhat better resolution and it has 35mm depth of field. So "totally different and better" is an exaggeration.

You could just as well say that Mann could have gotten totally different and better images from the F23 if he had wanted to, but since he didn't, why would he take a different approach with the Red?

It's just not sinking into some people's head that what Mann did to the F23 is not indicative of how film-like it can look, that he deliberately limited its dynamic range, the color depth, and added a lot of edge ehancement, plus turned off the shutter -- all of which contributed to a video look. He could have timed Red footage to match, all except for the depth of field difference.

If you've seen some of the assessment tests of the different cameras out there shooting the same subjects, you'd see that the F23 does quite well and that the Red One does not radically outperform it.

If you don't believe me, go out and shoot your own comparison tests.

David,

I'm ready for the match F23 vs RED1 in dynamic range new tests.

I'll bring RED1/B20 with Leica Noctilux-M 50mm f/0.95 ASPH, Canon FD 50mm and 85mm f/1.2 ASPH or any of Arri/Zeiss MP Prime and you can invite Claudio Miranda or who else is ready with Sony f23 with Digi Primes...

and we go...

I'll be a winner for sure (100%)!!!!

Also just read on CML forum that "BSC film & digital image evaluation" was a big mess with results...

[Peter Lundström]

David,

I'm ready for the match F23 vs RED1 in dynamic range new tests.

I'll bring RED1/B20 with Leica Noctilux-M 50mm f/0.95 ASPH, Canon FD 50mm and 85mm f/1.2 ASPH or any of Arri/Zeiss MP Prime and you can invite Claudio Miranda or who else is ready with Sony f23 with Digi Primes...

and we go...

I'll be a winner for sure (100%)!!!!

Also just read on CML forum that "BSC film & digital image evaluation" was a big mess with results...

You seem to be really taking this to the extreme... fact is, the F23 is a good camera, Mann shot his movie the way he wanted and clearly he didnt want a camera with 35mm DOF. Saying Sony pressured him into choosing the Cinealta is a bit of a strecth to me.

[Sanjin Jukic]

You seem to be really taking this to the extreme... fact is, the F23 is a good camera, Mann shot his movie the way he wanted and clearly he didnt want a camera with 35mm DOF. Saying Sony pressured him into choosing the Cinealta is a bit of a strecth to me.

I didn't say that Sony "pressured" to use f23, i said that Sony "wanted" him to shoot with Sony cameras and that happened.

All those "stories" about depth of field, dynamic range, etc., are all just a big smoke curtain.

He could achieve similar or even better results shooting with "other" digital cameras and RED is one of the best choices...

That I said and will not repeat again and again all the time.

Supposed to be that some people still living in a sort of "arty idealistic" or "virgin" world.