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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 :)

RUST & BONE: Notes On How It Was Shot on Epic, ASC Mag

After posting in this thread I felt honor bound to see Rust & Bone - good decision!

Wonderful movie in every respect, props to the filmmakers.

The VFX were fantastic; even with hand held shots, water, etc they were seamless.

Cheers - #19
 
Blair S. Paulsen said:
After posting in this thread I felt honor bound to see Rust & Bone - good decision!

Wonderful movie in every respect, props to the filmmakers.

The VFX were fantastic; even with hand held shots, water, etc they were seamless.

Cheers - #19
Click to expand...

Now I have to see it too!
 
Dominik Muench said:
Can I ask why anyone shooting a production of that magnitude would seriously consider the Canon 5/7D and test them amongst cameras like the Epic & Alexa or even 35mm ? I'm not trying to spark another camera controversy I'm really wondering why these two cameras could possibly be an option when you have the chance to shoot Epic or Alexa or even 35mm. Surely with productions of that budget and especially the postproduction and grading workflow one would go straight to the more advance camera systems ? What advantage could the 5D have over the Alexa or Epic apart from size and weight ?
Click to expand...

I was thinking pretty much the same thing!
 
A little late to the party, (I may have already said this on the other thread) but in regards to projecting in 2k because 4k is to sharp I would have to say and agree with others that already chimed in that softening the 4k is going to be a way nicer more organic image then projecting in 2k and letting the lower resolution soften the image because of larger pixels.

The final image is all about your taste or desire for the specific project, but on a theatre screen 4k is always going to look better as you can still see individual pixels from the front of the theatre on a 2k projection if you pay attention.

Anyways very cool comments from Fontaine and I really want to see the movie now!
 
From what I remember of the movie some parts, if not the whole film seems to have a glow or bloom around the highlights. Does anyone know what filter mr. fontaine used infront of the lens? to me it seems to give the cinematography a more organic character. Ive tried a few filters on the master primes and cooke s5´s for this but i havent yet found the one I absolutly like. mabe im missing something.

cheers.


http://guillermogarzadp.com/Highlight-Reel-2012
 
Nick, thanks for sharing. Very enjoyable.

Logic surely follows using the greater control/flexibility in post that Blair pointed out. But would the choice to use 2k projection to achieve it's look have been made in regards to a large part of the audience for the film would be seeing it projected in 2k? So therefore no desire to double soften so too speak? Assuming this is a universal release decision, not just a Canne one. Is my reasoning flawed?

Was already looking forward to the film. Really can't wait for it's Aussie release now. Sigh.
 
I'm resurrecting this thread because I also saw "Rust & Bone"... and it was one of the MOST ORGANIC films shot on Red that I've seen. If not THE MOST ORGANIC.
The skin tones were definitely the best I have seen - BY FAR!

Apart from some overexposed shots, you could NOT tell for sure if the film was digital or shot on 35mm.

I'm also sure they added grain to the film - and it also looks very, VERY organic. Overall, I was incredibly impressed with the texture of the film.

Does anyone have additional info about the film? Cinematography, post-production (especially post - How did they color correct? did they use film emulation LUTs, startingf rom the RedLogFilm? How did they apply grain? What kind of grain? (Cinegrain?)

Any info/links would be greatly appreciated!

You must see this film if you want to see EPIC at its best.

Mike
 
Post info here:

http://www.reduser.net/forum/showth...Epic-ASC-Mag&p=1133064&viewfull=1#post1133064

Medavoym said:
I'm resurrecting this thread because I also saw "Rust & Bone"... and it was one of the MOST ORGANIC films shot on Red that I've seen. If not THE MOST ORGANIC.
The skin tones were definitely the best I have seen - BY FAR!

Apart from some overexposed shots, you could NOT tell for sure if the film was digital or shot on 35mm.

I'm also sure they added grain to the film - and it also looks very, VERY organic. Overall, I was incredibly impressed with the texture of the film.

Does anyone have additional info about the film? Cinematography, post-production (especially post - How did they color correct? did they use film emulation LUTs, startingf rom the RedLogFilm? How did they apply grain? What kind of grain? (Cinegrain?)

Any info/links would be greatly appreciated!

You must see this film if you want to see EPIC at its best.

Mike
Click to expand...
 
Finally got to see it last week. A really lovely film.

I'd also love to hear if anyone's stumbled across details of any filtration they used on the lenses (nets behind, or glass up front) - or whether it was all done in the grade. I think 'organic' is absolutely the word to describe the look Fontaine achieve on Rust and Bone, and I think it's a real achievement.
 
Mark K. said:
Finally got to see it last week. A really lovely film.

I'd also love to hear if anyone's stumbled across details of any filtration they used on the lenses (nets behind, or glass up front) - or whether it was all done in the grade. I think 'organic' is absolutely the word to describe the look Fontaine achieve on Rust and Bone, and I think it's a real achievement.
Click to expand...

I don't think I remember them mentioning filtration at all in the article, but then again it's a topic that sometimes gets overlooked...so not sure.

I went to the theaters to see this, and the projector failed. Over the holidays I'd love very much to finally see this jewel of a movie.
 
Thanks for the article, it's good to see what he does. I follow a few of the same steps. 5:1, and keeping it at 800. I'm comfortable using my light meter, because I don't really need to look at waveforms, or a calibrated monitor.. I just keep within my over/under range, and I'm usually happy with what I get. I do keep a look out for traffic lights though.

But, I'm not sure if my light meter is out of calibration. Because, although I always keep it at 800 iso, I have to set my meter at 400 (1 stop under) to have the exposure I feel that is right. Has me a little worried about getting the motion mount with the 1.6 stop light loss. Fine for outside, but a bit too low for interiors.
 
I think the Netflix version I watched didn't do the look/footage/RED justice -- seemed rather washed out and desaturated; very duo-tone with pink skin and greenish/grey background (which I've seen often in RED-shot movies).

That said, after the first 45seconds I did get drawn into the movie/story. It was pretty rad.
 
Thats too bad. It looked fantastic in the cinema.

Mike P. said:
I think the Netflix version I watched didn't do the look/footage/RED justice -- seemed rather washed out and desaturated; very duo-tone with pink skin and greenish/grey background (which I've seen often in RED-shot movies).

That said, after the first 45seconds I did get drawn into the movie/story. It was pretty rad.
Click to expand...
 
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