sdoc
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Nick Cave documentary/performance film.
Shot on RED. In 3D. At 4K & 6K.
Photographed by Benoît Debie & Alwin Kuchler.
Other than that i know not alot; there isn't much technical info out there, it seems.
Just this though ~ these 90 seconds include some of the most sublime monochrome imagery i've seen since Fincher's 'Suit & Tie' promo & GAP ads.
The idea of it in 3D is delicious. It will be my first ever 3D film experience.
https://www.flickr.com/photos/43466399@N05/29133677252/in/dateposted/
https://vimeo.com/177307241
Here is a recent quote from Mr Dominik ~
“When Nick approached me about making a film around the recording and performing of the new Bad Seeds album, I’d been seeing quite a lot of him as we rallied around him and his family at the time of his son’s death. My immediate response was “Why do you want to do this?” Nick told me that he had some things he needed to say, but he didn’t know who to say them to. The idea of a traditional interview, he said, was simply unfeasible but that he felt a need to let the people who cared about his music understand the basic state of things. It seemed to me that he was trapped somewhere and just needed to do something – anything – to at least give the impression of forward movement.
I took the record away and listened to it trying to work out a way into the whole thing. In the end I agreed to do it if I could shoot it in black-and-white and 3D. Nick’s response was, “I fucking hate 3D” or something like that. I showed him old black and white photos viewed through a stereopticon from the 50s. I told him I wanted to make a film where these sorts of photos came slowly to life. I felt that the stark black-and-white and the haunted drama of these 3D images perfectly addressed the disembodied sound of the record and the weird sense of paralysis that Nick seemed to exist in at the time.
To achieve this effect we built a special camera, a massive, lumbering piece of equipment that’s almost comic lack of mobility added to the eerie drift of the film itself. No one has ever seen a 3D black-and-white non-animated feature film in modern times – for as far as I know, no such thing exists. It is both modern and from a distant age – much like the Nick Cave & the Bad Seeds’ new record, Skeleton Tree, actually.
Nick came to Los Angeles and watched the film. His response was obviously conflicted. How could it not be? In the end he said, “leave it as it is” – which we did. He said that it was obviously “made with love” – which it was and finally, “to make sure they see it in 3D”.
Shot on RED. In 3D. At 4K & 6K.
Photographed by Benoît Debie & Alwin Kuchler.
Other than that i know not alot; there isn't much technical info out there, it seems.
Just this though ~ these 90 seconds include some of the most sublime monochrome imagery i've seen since Fincher's 'Suit & Tie' promo & GAP ads.
The idea of it in 3D is delicious. It will be my first ever 3D film experience.
https://www.flickr.com/photos/43466399@N05/29133677252/in/dateposted/
https://vimeo.com/177307241
Here is a recent quote from Mr Dominik ~
“When Nick approached me about making a film around the recording and performing of the new Bad Seeds album, I’d been seeing quite a lot of him as we rallied around him and his family at the time of his son’s death. My immediate response was “Why do you want to do this?” Nick told me that he had some things he needed to say, but he didn’t know who to say them to. The idea of a traditional interview, he said, was simply unfeasible but that he felt a need to let the people who cared about his music understand the basic state of things. It seemed to me that he was trapped somewhere and just needed to do something – anything – to at least give the impression of forward movement.
I took the record away and listened to it trying to work out a way into the whole thing. In the end I agreed to do it if I could shoot it in black-and-white and 3D. Nick’s response was, “I fucking hate 3D” or something like that. I showed him old black and white photos viewed through a stereopticon from the 50s. I told him I wanted to make a film where these sorts of photos came slowly to life. I felt that the stark black-and-white and the haunted drama of these 3D images perfectly addressed the disembodied sound of the record and the weird sense of paralysis that Nick seemed to exist in at the time.
To achieve this effect we built a special camera, a massive, lumbering piece of equipment that’s almost comic lack of mobility added to the eerie drift of the film itself. No one has ever seen a 3D black-and-white non-animated feature film in modern times – for as far as I know, no such thing exists. It is both modern and from a distant age – much like the Nick Cave & the Bad Seeds’ new record, Skeleton Tree, actually.
Nick came to Los Angeles and watched the film. His response was obviously conflicted. How could it not be? In the end he said, “leave it as it is” – which we did. He said that it was obviously “made with love” – which it was and finally, “to make sure they see it in 3D”.
