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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Doug Liman Talks Fair Game, New York vs. Hollywood, etc.

I know Mark is rightly proud of having worked with a B+++ director like Liman, and his movies, particularly the first Bourne, are crisp, polished, eye candy. But I hated the look of Fair Game, it is one of the worst looking RED movies I've seen. Nothing wrong with it technically, and obviously it would have looked the same if shot on film or any other digital camera, but enough of those plasticky, magenta, unpleasant and downright ugly skin tones and annoyingly desaturated looks that are just hard to swallow for 90 minutes plus. Despite whatever directors, producers and DP's think about this "look" being suitable for serious, real life, dramatic stories, it isn't guys, it is just plain ugly looking footage. This rant is not aimed at OffHollywood of course, but at Liman and co.
 
Rudi Herbert said:
I know Mark is rightly proud of having worked with a B+++ director like Liman, and his movies, particularly the first Bourne, are crips, polished, eye candy. But I hated the look of Fair Game, it is one of the worst looking RED movies I've seen. Nothing wrong with it technically, and obviously it would have looked the same if shot on film or any other digital camera, but enough of those plasticky, magenta, unpleasant and downright ugly skin tones and annoyingly desaturated looks that are just hard to swallow for 90 minutes plus. Despite whatever directors, producers and DP's think about this "look" being suitable for serious, real life, dramatic stories, it isn't guys, it is just plain ugly looking footage. This rant is not aimed at OffHollywood of course, but at Liman and co. Not that it matters or I care, but all I've heard about Liman from friends who worked with him on Bourne is that he is an absolute ass to work with, go figure....
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With respect to the look of the film - that's Doug's choice. Some people love it (the producers) some folks hate it (you and perhaps many more).

It's a subjective thing. Horses for courses. If you make some movies that make $$ you get to make these choices.

With respect to your comment about people who worked with Liman saying that he's "an absolute ass" to worth with ... well ... I'm sure there's a few people that would say that about me - or anyone else with a "strong" personality.

I've personally worked with Doug on a number of projects since 2006 - and I have nothing but respect for him and how he does his job.

Go figure ...
 
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Hey Mark! I watched all 4, thanks for posting to this! I really like this guy, it'd be great to meet him at some point
 
Mark,

I realize my words came out wrong, calling people asses, even if paraphrasing what others said, is not my style at all, lest I can say it to their faces, so even if indirectly, apologies are extended if you felt offended in any way. Liman is a good director, no doubt about it. Yes, I hated the look of Fair Game and feel that when skin tones are graded that way with digital footage, even RED's footage, they fare much worse than if originated on film, which still does not look that great with such tones. I always felt that a color grade should work to pull you into the story instead of tiring you from a sensory point of view, which is what happens, to me at least, when I have to watch films with only 2 or 3 prevalent tones/colors, all of which are muddy, muted and desaturated to begin with, and where brown, magenta and beige are the happy colors. It is a tough exercise and feels so unnatural in fact that it calls attention to itself, which I'm sure is the opposite of what was intended. Then again, the director's choice is the right one, as it is, before and after all, his film.
 
Curran Giddens said:
Would love to see the new season of Covert Affairs shot on Epic.
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Why? It's a TV show. Do you really think it would look any different than it did shooting on Red One M/X, which is essentially the same sensor technology? Frankly, if anything, I would think that the eventual availability of Scarlet would make a much bigger difference because it would allow more minimal use of Canons, which were used quite liberally in the first season.

Disclaimer: I'm the colorist on "Covert Affairs."
 
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