Certified Copy

[Kemalettin Sert]

i was looking for Artificial Eye bluray releases on amazon uk and then realised new Abbas Kiarostami movie coming to bluray.Few mins later checked the imdb tech specs and saw it was shot on Red One.
DP:Luca Bigazzi

 

[Subhadip Sen]

Wow, I had no idea! This is big news. Kiarostami is a master, and this is huge for RED. Not sure why its been kept a relative secret. Anyway, looking forward to it! Could be the best film shot on RED so far.

 

[Martin Weiss]

As a general note, I would rely on IMDB when it comes to camera specs. There've been cases of movies reportedly shot on RED in the 1970s...

 

[Sanjin Jukic]

Martin,

as you always know better what is and what is not error here at the forum then maybe you could click and update the IMDb database page:

"You may report errors and omissions on this page to the IMDb database managers.
They will be examined and if approved will be included in a future update.
Clicking the 'Update' button will take you through a step-by-step process."


http://pro.imdb.com/title/tt1020773/technical

Pleasant skin-tones shot on RED ONE: Still of Juliette Binoche and William Shimell in Certified Copy.

Abbas Kiarostami an internationally acclaimed Iranian film director, screenwriter, photographer and film producer
with RED ONE 4K camera system at the set of "Certified Copy" in Tuscany, Italy (Summer/Fall 2009).

Cannes 2010 >>>:
Award for Best Actress
Juliette BINOCHE in COPIE CONFORME (CERTIFIED COPY) directed by Abbas KIAROSTAMI


Also I would like to keep a kind of real fact checking approach on this forum...

 

[Kemalettin Sert]

http://www.dvdbeaver.com/film3/blu-ray_reviews53/certified_copy_blu-ray.htm

 

[T Coltrain]

http://www.avclub.com/articles/abbas-kiarostami,53269/

AVC: With the exception of your segment in the anthology film Tickets, you’ve essentially given up film for shooting on digital video. But with Certified Copy, you used the RED camera, which has a look much closer to film. How did that affect the process for you?

AK: You’re referring to the last 10 years. I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera. I feel it as a friend, as something that doesn’t make an impression on people, that doesn’t make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film. So the digital camera has given me total freedom and a different way of filming. This time, with the RED, I didn’t have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera. I didn’t relate to it as much. I remember avoiding it during the shooting rather than paying attention to it. It was there, I had to deal with it, but I didn’t create any kind of relation with it. I’m still very grateful to digital cameras in general, but I didn’t have this feeling with the RED one.

 

[Michel Hafner]

Scarlet sounds right for him.

 

[Tim Hole]

Doesn't surprise me was RED after seeing it though. However in reality it wouldn't have mattered. Could have just as easily been shot on a Varicam, F950 or F23 with the style they were going for. As usual was a nice experiment and beautifully told, awkwardly emotionally but amazingly acted. Brilliantly constructed (even if I didn't quite 'buy it').

Michel is possibly right though. Although possibly with the exception of a focus puller there is little difference between potentially and Epic and Scarlet in practice if you didn't want it to be. R1 is far more imposing and can get like the spaghetti Junction on occasions.

 

[Luca Immesi]

I presented the camera to Luca Bigazzi before the beginning of the shooting of Certified copy. We did some tests.