moonrise kingdom cinematography

[Domenic Barbero]

Robert D. Yeoman is a stallion. Saw Moonrise today and was blown away. The pace, the shot selection, the colors, the composition, the blocking. Pure amazingness.

Def gets my vote as best shot feature this year so far that ive seen. Just absolutely incredible. I miss super 16. Wish more people would shoot on it that choose film as their format.

 

[Miles Heckendorn]

Robert D. Yeoman is a stallion

I totally agree!

I have yet to see Moonrise, going later today. Glad to hear that it's up to his usual standards!

 

[Ken Willinger]

Agreed! The cinematography was excellent.

 

[Peter Arnold]

And it was shot on Super-16mm!!

Peter

 

[Miles Heckendorn]

I just got back from seeing it... WOW! I loved it.

And it was shot on Super-16mm!!

The use of 16mm really fit. I think I'm going to break out my 16mm lenses and see how they look at 2k on the scarlet.

 

[Domenic Barbero]

glad you guys agree. that opening shot going through the house is super rad. and the shot at the end with them and the building will probably be one of the most memorable images for a while. i hope they make it into a poster.

 

[Ian Vertovec]

I agree, it was a beautiful film. However, after working with such sharp modern cameras and lenses, doesn't Super16 just feel way too soft?

I mean not everything has to have that ultra-crisp HBO look, but sometimes I'm just too distracted by how soft everything is.

 

[Erich Ocean]

I think I'm going to break out my 16mm lenses and see how they look at 2k on the scarlet.

Shoot 3K and crop to 2400px wide, and whatever height you want for the specific aspect ratio (HD/1.85/2.4). Works very well, and debayers to a super clean 1920x1080p, and won't vignette on S16mm glass.

 

[Nick Morrison]

They shot Super-16 on Super Speeds. Was covered recently in AC. There is a cool BTS pic of Wes Anderson operating the camera. I get the feeling it was a very intimate set. Can't wait to see it myself.

 

[Stephen Mick]

I agree, it was a beautiful film. However, after working with such sharp modern cameras and lenses, doesn't Super16 just feel way too soft?

In a word…no.

 

[Domenic Barbero]

i never felt it was soft. And something about it being a little softer than the crazy high res stuff brings back a little more of the magic feeling. I love super 16. Its such an awesome medium for shooting. Ill have to read that article in AC

 

[Chris Tharp]

i liked the imperfections like bumpy dolly track and non perfect lenses, more often then not cinematography is hidden Anderson has a nice way of making it a character.

some of the shots were damn soft and had alot of CA. one shot look like they digitally zoomed in on the really really long zoom out of the girl with her binoculars. not sure i would have been comfortable doing it but hey why not.

I think some of the lenses they used they knowly used cause they were soft to go along with the story. the early part stuff when they are "in love" in the woods is "instagram" in motion giving you that warm and fuzzy feeling of nostalgia. while later when they get to jason swartzmen it stays crispy sharp ... well comparatively and it doesnt randomly throw in any of thoes vintage lens shots from the earlier part of the movie. making me feel some of the early softness was aesthetic.

 

[Bob Gundu]

I really loved this film. From story, to cinematography, to editing. Then again, I'm a Wes fan. There were only two shots that looked really bloomy and soft and that was during the trek through the river scenes. I saw the film with my wife on our 17th wedding anniversary. It was perfect

 

[Yousuf Abbasi]

I saw the film. Wasn't blown away really. Cinematography was very Wes-Anderson-esque (nothing new there). A lot of the movie reminded me of Pierrot le fou (by Jean-Luc Goddard), epecially the filmstock.

 

[Tehben Dean]

My FAVORITE movie of the year.... Amazing. loved the soft look.

 

[Eric Haase]

I agree, it was a beautiful film. However, after working with such sharp modern cameras and lenses, doesn't Super16 just feel way too soft?

I mean not everything has to have that ultra-crisp HBO look, but sometimes I'm just too distracted by how soft everything is.

A couple of the zoom lens shots seemed overly soft but the rest worked for me. Didn't love the movie but I appreciated the photography. Its interesting to see super16 used on serval critically acclaimed films in the last several years: black swan, hurt locker, moonrise kingdom. It definitely has a FEEL.

 

[Joe G.]

Best movie of the year so far. S16? Bring it on. Like Black Swan, it looked fantastic. I'll take beautiful natural highlights and rich colors over resolution any day.