Beyond a Reasonable Doubt

[Sanjin Jukic]

Beyond a Reasonable Doubt

Genrerama
Directoreter Hyams
Cinematography by Peter Hyams
Cast:Jesse Metcalfe, Amber Tamblyn, Michael Douglas, Orlando Jones, Joel David Moore

Apple Movie Trailers>>>

 

[Stelios Koukouvitakis]

Nice one! thanks Sanjin!

 

[Sanjin Jukic]

Stelios,

also I like this RED movement that directors are taking over the camera/cinematograhy and shooting with RED1 by themself like a Steven Soderbergh, Doug Liman and Peter Hyams...

 

[David Mullen ASC]

Soderbergh, Liman, and Hyams were doing their own DP work before -- on film. Hyams has been shooting his own features for over 25 years.

 

[Stelios Koukouvitakis]

I don't know... Even in auteur movies, cinema is all about collaboration.... and it makes sense for the director to pick the right people for the job, the ones who both share the same vision with him and can bring their own ideas to the project.

After all, a director can't be an expert in cinematography, at least not as much as a great cinematographer would be.

 

[D Namir]

Beyond a Reasonable Doubt

Genrerama
Directoreter Hyams
Cinematography by Peter Hyams
Cast:Jesse Metcalfe, Amber Tamblyn, Michael Douglas, Orlando Jones, Joel David Moore

Apple Movie Trailers>>>

Don't get it. Was it Beyond a Reasonable Doubt shot with the Red One camera?

 

[Sanjin Jukic]

Soderbergh, Liman, and Hyams were doing their own DP work before -- on film. Hyams has been shooting his own features for over 25 years.

Fear!!!!????...:rofl:

Before RED1 was a film (only or mostly) anyway...


The future of cinematography is now strongly in a hands of movie director(ssssssssssssssssss)!!!!!!!!!!!!!!!!!!

Hollywood (unions+aesthetic) approach "killed" a director (auteur cinema).

Director became a "hired" employee in almost any of that sort of production(s).

And everybody was 'supporting" producer(s) sort of "creativity" choices (that were always fakes or copies of something creative done before just because they have money to pay for right now...)

But there are still some of the fighters THERE as I mentioned above like a Steven Soderbergh, Doug Liman and Peter Hyams... just to name a few...

Maybe there were shooting on film before but now there are all on RED1... just because before RED1 was a film only and some sort of "Sony-boy" digital cameras...

In Europe Lars von Trier is (RED) leader (also for years he is collaborating for with Academy Awarded Cinematographer Anthony Dod Mantle).

That's all about art movies...

Why?

You should not have to ask...

All other is about an instant movie making industry... worldwide...

Don't get it. Was it Beyond a Reasonable Doubt shot with the Red One camera?

Definitely!!!!!!!!

 

[Stefan Christou]

Just reading the description on the Apple website makes me wanna throw up. I HATE that kind of movie. TJMT

 

[Sanjin Jukic]

Just reading the description on the Apple website makes me wanna throw up. I HATE that kind of movie. TJMT

Here we should not discuss about a value of movie shot on RED1.

That's not make any sense...

All it's about RED1 as a tool (digital cinema camera).

It's all about a technology and beyond...

 

[Andrew Walker]

The picture looks great but that trailer should be re-cut. Kind of cheese-ball.

 

[David Mullen ASC]

I'm just saying that if you're going to make some sort of argument that the RED ONE is somehow allowing directors to assume the responsibilities of the cinematographer as well, then don't pick three directors as examples who were already able to shoot their own movies before on other formats. The RED ONE did not enable them to act as their own cinematographers.

Truth is that the RED ONE is no different than any other digital camera in allowing a director to act as his own cinematographer or not. It's not "easier" to do that on the RED as opposed to an F900 for example.

And the other truth is that some directors like the collaboration with a cinematographer and are also not particularly interested in mastering that aspect of filmmaking. It's not a union thing or Hollywood thing, it's a level of personal interest and talent thing.

Some directors want to shoot their own material and some don't. Some directors are good at it and some aren't. Just like some directors can write their own screenplays and some cannot, or some directors like working with editors and some would rather edit their own movies. Some can compose the music for their movies but many cannot.

What I don't really get though is this weird obsession Sanjin has with Hollywood -- he constantly tells us which Hollywood movie or director has switched to the RED as if RED needs the validation of Hollywood, all the while condemning Hollywood and talking about a revolution that somehow triumphs over Hollywood's control. So if RED is supposed to be a revolution against Hollywood, why look constantly to Hollywood for validation?

 

[Sanjin Jukic]

I'm just saying that if you're going to make some sort of argument that the RED ONE is somehow allowing directors to assume the responsibilities of the cinematographer as well, then don't pick three directors as examples who were already able to shoot their own movies before on other formats. The RED ONE did not enable them to act as their own cinematographers.

Truth is that the RED ONE is no different than any other digital camera in allowing a director to act as his own cinematographer or not. It's not "easier" to do that on the RED as opposed to an F900 for example.

And the other truth is that some directors like the collaboration with a cinematographer and are also not particularly interested in mastering that aspect of filmmaking. It's not a union thing or Hollywood thing, it's a level of personal interest and talent thing.

Some directors want to shoot their own material and some don't. Some directors are good at it and some aren't. Just like some directors can write their own screenplays and some cannot, or some directors like working with editors and some would rather edit their own movies. Some can compose the music for their movies but many cannot.

What I don't really get though is this weird obsession Sanjin has with Hollywood -- he constantly tells us which Hollywood movie or director has switched to the RED as if RED needs the validation of Hollywood, all the while condemning Hollywood and talking about a revolution that somehow triumphs over Hollywood's control. So if RED is supposed to be a revolution against Hollywood, why look constantly to Hollywood for validation?

Nothing is weird with my "obsession" with Hollywood just because of the fact that Hollywood is one of the biggest phenomenon in history and reality of making moving images.

I feel no pro or contra Hollywood at all and always try to observe the thing from many different points and sides to get somehow a better overall picture...

Hollywood by itself is not a constant thing and all the time is evolving and changing...

Off Hollywood and Off-Off Hollywood are now a pretty old thing and even sometimes obsolete...

Go back to RED1 the fact is that the guys who are not from US somehow were pioneers of RED1 "introduction" to Hollywood mainstream production (Peter Jackson from New Zealand and Alex Proyas from Australia).

Also Hollywood stars like Robert Redford established events like a Sundance Festival... try out to make a stage that have opportunity to show different ways of movie making in US and Worldwide...

Europe was always different from the beginning on...

Again go back to "RED1 and directors" the fact is that now almost everybody can owe RED camera that could somehow "enable" almost everyone to make a "Hollywood" look and quality of 35mm film...

So directors who are more interested in "self control" of look, style, quality and feeling of the moving images in their films have got very affordable tool (RED1) that can now even personally owe

and have it in their "ateliers and small studios" to experiment daily (especially today with RED1 together with affordable set of high quality RED prime set).

The things are all the time changing fast and enabling more people to be directly involved about decisions how to make movie pictures.

That's about the new generation of movie directors that are coming up.

Also it doesn't mean that cinematographers are going to be immediately somehow "fired" just because some of directors want to shoot their films by themself,

it means more that only original talents like a Storaro, Kaminski, Ballhaus, Lesnie, Deakins, Dod Mantle, Prieto, etc...

could survive that sort of "revolutionized" movie making that tools like a RED1 trying to enable it.

But nobody knows how all that thing is going to finish and what are the directions of future movements.

All is about and in a level of speculation like always with that sort of things...

 

[Fredrik Callinggard]

I have to agree with David on this Sanjin. It seems as if your trying to force some kind of discussion here or you're not sure what you want to say.

What kind of discussion do you really want to start? How RED1 can enable a new generation of filmmakers to start doing their films? All other video/ digital cameras on the market can do that. Or do you want to say what Coppola said... that soon we'll see filmmakers with their home camera make beautiful films - well it's already happening.

IMHO RED has revolutionized the possibility of quality of the image for the indie makers in the middle, nothing else.

I very often shoot my own productions myself but also enjoy to collaborate with DP's - simply because they bring new fresh perspectives to the filmmaking.

The roles of filmmakers hasn't changed - the possibilities has a little, but not the roles.

 

[Brook Willard]

I think I just saw the whole movie from that trailer.

 

[Sanjin Jukic]

I have to agree with David on this Sanjin. It seems as if your trying to force some kind of discussion here or you're not sure what you want to say.

What kind of discussion do you really want to start? How RED1 can enable a new generation of filmmakers to start doing their films? All other video/ digital cameras on the market can do that. Or do you want to say what Coppola said... that soon we'll see filmmakers with their home camera make beautiful films - well it's already happening.

IMHO RED has revolutionized the possibility of quality of the image for the indie makers in the middle, nothing else.

I very often shoot my own productions myself but also enjoy to collaborate with DP's - simply because they bring new fresh perspectives to the filmmaking.

The roles of filmmakers hasn't changed - the possibilities has a little, but not the roles.

Fredrik,

think whatever you want, agree or disagree,

but my thoughts and analysis are based only and always on the facts.

For example you could start with Shot on RED1 official web page and do a little statistic and analysis by yourself...

 

[Stefan Christou]

Never argue with Sanjin!

Sorry dude I will never mention if I like a film or not ever ever ever again uke:

BTW this thread has well and truly been jacked :jacked:

 

[Craig W. Bickerstaff]

I think I just saw the whole movie from that trailer.

making trailers really is an art form isn't it, I mean you don't want to give away the good stuff but at the same time you have to find a good way to sell the movie in a creative way.

In this sense this trailer is garbage, I think they'd be better off if they had dropped the V.O.

 

[Sanjin Jukic]

Never argue with Sanjin!

Sorry dude I will never mention if I like a film or not ever ever ever again

BTW this thread has well and truly been jacked

:coolgleam: :troll: :ciappa: :smilielol5:

 

[michael zaletel]

Who cares what it was shot on, what's up with the grading?

-michael zaletel
(shooter)

 

[Roberto B]

nobody can deny sj is speaking the truth about the cinema d'auteur vs industry.. to each his own.. how many hollywood directors can be compared w/ the true auteurs?.. a dozen?.. half dozen?

red might have a decisive role on it.. scarlet?