The Cinematography of NTTD - Linus Sandgren

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  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,643
    Mallory wrote: »
    I wouldn’t recommend Transformers: The Last Knight then.... one, because its awful, and second, the aspect ratio changes every 3-4 seconds. Very disorientating and unnecessary.

    Yes, this was one of the films that popped into my mind along with a number of Nolan's. The last M:I also committed this offense, but they didn't shoot with IMAX cameras, if I remember correctly.
  • MalloryMallory Are you ready to get back to work?
    Posts: 991
    Mallory wrote: »
    I wouldn’t recommend Transformers: The Last Knight then.... one, because its awful, and second, the aspect ratio changes every 3-4 seconds. Very disorientating and unnecessary.

    Yes, this was one of the films that popped into my mind along with a number of Nolan's. The last M:I also committed this offense, but they didn't shoot with IMAX cameras, if I remember correctly.

    From memory with MI Fallout there were only two full sequences where they had the expanded aspect ratio - the Halo jump and the helicopter sequence at the end. I dont think it was shot in IMAX.

    I do agree that an entire sequence should be fully imax, not this alternating between the two. But then I appreciate the shooting in imax is bloody difficult.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,643
    Mallory wrote: »
    Mallory wrote: »
    I wouldn’t recommend Transformers: The Last Knight then.... one, because its awful, and second, the aspect ratio changes every 3-4 seconds. Very disorientating and unnecessary.

    Yes, this was one of the films that popped into my mind along with a number of Nolan's. The last M:I also committed this offense, but they didn't shoot with IMAX cameras, if I remember correctly.

    From memory with MI Fallout there were only two full sequences where they had the expanded aspect ratio - the Halo jump and the helicopter sequence at the end. I dont think it was shot in IMAX.

    I do agree that an entire sequence should be fully imax, not this alternating between the two. But then I appreciate the shooting in imax is bloody difficult.

    Incredibly so, especially in tough conditions.
  • Posts: 3,270
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.
  • Posts: 2,810
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.

    Depends on the film. My digital copies of First Man and MI Fallout and Tron Legacy have the aspect ratio switching too.

    I'd suspect that with regards to NTTD, if the home release has the aspect ratio switching at all, it will be on digital copies too.
  • edited May 17 Posts: 4,240
    antovolk wrote: »
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.

    Depends on the film. My digital copies of First Man and MI Fallout and Tron Legacy have the aspect ratio switching too.

    I'd suspect that with regards to NTTD, if the home release has the aspect ratio switching at all, it will be on digital copies too.

    I used to be stringently against the aspect ratio shifts on home video, mainly due to the reasons stated by @CraigMooreOHMSS - however, I've had a change of heart mainly as the actually tools to shoot IMAX are incredibly difficult and when it comes together the image quality is breathtaking in terms of the resolution...

    I found this video relevant to Linus Sandgren's work on First Man - it's clear him and the director had a clear artistic reason to use IMAx for those sequences and it clearly worked well with that conceit. Watching that film without the IMAX shift actually detracts from the character's arc



    My impression is that the following sequences in NTTD will be IMAX
    1. Matera car chase (and quite possible the entire PTS)
    2. Cuba gunfight
    3. Norway car chase
    4. Finale (which I assume is a raid on Safin's base)

    Though this doesn't tally with why they were using IMAX for the Jamaica boat scenes....I know more format-experts like @antovolk may have an explanation

    03.jpg

    Also, can anyone confirm if this camera used in Matera is IMAX? If so, then the entire PTS may very well be IMAX:

    03.jpg
  • MalloryMallory Are you ready to get back to work?
    Posts: 991
    @Pierce2Daniel I would suspect the whole PTS, the frozen lake stuff was shot woth IMAX cameras and speculation is that is in the PTS.
  • PavloPavlo Ukraine
    Posts: 323
    antovolk wrote: »
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.

    Depends on the film. My digital copies of First Man and MI Fallout and Tron Legacy have the aspect ratio switching too.

    I'd suspect that with regards to NTTD, if the home release has the aspect ratio switching at all, it will be on digital copies too.

    I used to be stringently against the aspect ratio shifts on home video, mainly due to the reasons stated by @CraigMooreOHMSS - however, I've had a change of heart mainly as the actually tools to shoot IMAX are incredibly difficult and when it comes together the image quality is breathtaking in terms of the resolution...

    I found this video relevant to Linus Sandgren's work on First Man - it's clear him and the director had a clear artistic reason to use IMAx for those sequences and it clearly worked well with that conceit. Watching that film without the IMAX shift actually detracts from the character's arc



    My impression is that the following sequences in NTTD will be IMAX
    1. Matera car chase (and quite possible the entire PTS)
    2. Cuba gunfight
    3. Norway car chase
    4. Finale (which I assume is a raid on Safin's base)

    Though this doesn't tally with why they were using IMAX for the Jamaica boat scenes....I know more format-experts like @antovolk may have an explanation

    03.jpg

    Also, can anyone confirm if this camera used in Matera is IMAX? If so, then the entire PTS may very well be IMAX:

    03.jpg

    Second photo - yes, it's IMAX.
  • edited May 17 Posts: 3,270
    antovolk wrote: »
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.

    Depends on the film. My digital copies of First Man and MI Fallout and Tron Legacy have the aspect ratio switching too.

    I'd suspect that with regards to NTTD, if the home release has the aspect ratio switching at all, it will be on digital copies too.

    Hopefully not. I think the switching aspect ratios is a neat trick for IMAX screenings, but I don’t want to watch that on home video. In the end, the extra picture information is not really essential anyway. If it was, it would have never been cropped to scope in regular theaters. If watching THE DARK KNIGHT for scope in its entire run was good enough for regular theaters, that’s good enough for me. After all, there’s so much headroom in those IMAX sequences it looks awkward for home video.


  • Posts: 4,240
    antovolk wrote: »
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.

    Depends on the film. My digital copies of First Man and MI Fallout and Tron Legacy have the aspect ratio switching too.

    I'd suspect that with regards to NTTD, if the home release has the aspect ratio switching at all, it will be on digital copies too.

    Hopefully not. I think the switching aspect ratios is a neat trick for IMAX screenings, but I don’t want to watch that on home video. In the end, the extra picture information is not really essential anyway. If it was, it would have never been cropped to scope in regular theaters. If watching THE DARK KNIGHT for scope in its entire run was good enough for regular theaters, that’s good enough for me. After all, there’s so much headroom in those IMAX sequences it looks awkward for home video.



    The reason given by Nolan as to 'why' he made the decision to open the frame for home video is purely for the 'experience' factor. Essentially an attempt to emulate the IMAX experience at home.

    I know that there are IMAX filmed portions of The Dark Knight which remain at the standard 2:40:1 ratio. For example, Commission Loeb's funeral and the Joker's attack were filmed with IMAX cameras, but Nolan didn't open the frame as he thought it would pull the audience out if the image was constantly cutting.

    From what Sandgren has said, that will be the case with NTTD. I think his interview says that there are 3 or 4 big IMAX scenes that go into the wider ratio. Otherwise we'll likely just get IMAX scenes that have been cropped (unless Fukunaga has a change of heart).

    It's likely that these are all cropped IMAX shots:

    vfsjYnD.jpeg
    9aT7d7C.jpeg
    qEonPJB.jpeg
  • Posts: 3,270
    antovolk wrote: »
    I think physical media is the one that does switching aspect ratios. For example my digital copies of the Nolan films that were shot in IMAX are all strictly scope from start to finish unlike the blu-rays.

    Depends on the film. My digital copies of First Man and MI Fallout and Tron Legacy have the aspect ratio switching too.

    I'd suspect that with regards to NTTD, if the home release has the aspect ratio switching at all, it will be on digital copies too.

    Hopefully not. I think the switching aspect ratios is a neat trick for IMAX screenings, but I don’t want to watch that on home video. In the end, the extra picture information is not really essential anyway. If it was, it would have never been cropped to scope in regular theaters. If watching THE DARK KNIGHT for scope in its entire run was good enough for regular theaters, that’s good enough for me. After all, there’s so much headroom in those IMAX sequences it looks awkward for home video.



    The reason given by Nolan as to 'why' he made the decision to open the frame for home video is purely for the 'experience' factor. Essentially an attempt to emulate the IMAX experience at home.


    Which to me is kind of pointless. Home theater can be almost as good as any regular theater with the right equipment, but the IMAX experience can never be emulated, so I think it's better to just crop it for normal scope altogether.


    I know that there are IMAX filmed portions of The Dark Knight which remain at the standard 2:40:1 ratio. For example, Commission Loeb's funeral and the Joker's attack were filmed with IMAX cameras, but Nolan didn't open the frame as he thought it would pull the audience out if the image was constantly cutting.

    From what Sandgren has said, that will be the case with NTTD. I think his interview says that there are 3 or 4 big IMAX scenes that go into the wider ratio. Otherwise we'll likely just get IMAX scenes that have been cropped (unless Fukunaga has a change of heart).

    It's likely that these are all cropped IMAX shots:

    vfsjYnD.jpeg
    9aT7d7C.jpeg
    qEonPJB.jpeg


    It would definitely be more sensible to do full IMAX sequences without inter-cutting with 2:40, so I trust Sandgren and Fukunaga to do that. GHOST PROTOCOL and CATCHING FIRE did exactly that, whereas both Nolan and J.J. Abrams did inter-cutting for their IMAX shot films.

  • Visually, NTTD is shaping up to be quite a unique entry. Fukunaga and Sandgren have brought a very different palette and texture than the previous films, very vibrant and contemporary. The use of pink/purple skies at dusk and dawn are stunning. I've made a collection here of my favourite shots.
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  • Junglist_1985Junglist_1985 Los Angeles
    edited June 9 Posts: 127
    Very nice screen stills! I realize this is probably premature to say, but I’m fairly confident NTTD will be the most beautiful looking Bond film.
    It truly does look like Cary/Linus have threaded the needle between the saturated colors of CR/QOS and the visually striking landscapes of Skyfall.
  • edited September 4 Posts: 4,240
    I feel the YouTube file compression is doing the visuals such a disservice in the new trailer...it just feels off. Plus some of the new colour-grading isn't as impressive as the shots from the old trailer....There are numerous examples throughout the trailer, but the below is all I can find:

    Eg_0PguXYAANyVc?format=jpg&name=medium
    EP2Mk-GXsAMN5yu?format=jpg&name=large

    Edit: a HD version can be found here: http://www.hd-trailers.net/movie/no-time-to-die/

    The bridge jump looks totally different. I miss the old cinematography! Plus they have replaced the background entirely. What's happening?!? This new trailer got me worried.

    @antovolk and @PropertyOfALady - do either of you guys know what's up here?
  • edited September 4 Posts: 955
    deleted
  • edited September 4 Posts: 528
    Lol at judging colour grading from a trailer. Wait for the actual movie.
  • edited September 4 Posts: 955
    Some standout frames from the new trailer. A lot of these seem to be the product of the "Fukunaga Sunset Scramble" looks like the scramble was worth it!
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  • Posts: 4,240
    Lol at judging colour grading from a trailer. Wait for the actual movie.

    You're very right...let's wait and see.

    Also, CJF and Sandgren have a serious thing for the magic hour and I'm complaining. I only saw a pretty sunset today in the UK and was reaching for my phone to take a snap.

    EhE3X6ZX0AIU7vZ?format=jpg&name=900x900
    EhENlLwXgAYVFrd?format=jpg&name=900x900
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    EhE4XPCXgAAZblM?format=jpg&name=900x900
    I feel the YouTube file compression is doing the visuals such a disservice in the new trailer...it just feels off. Plus some of the new colour-grading isn't as impressive as the shots from the old trailer....There are numerous examples throughout the trailer, but the below is all I can find:

    Edit: a HD version can be found here: http://www.hd-trailers.net/movie/no-time-to-die/

    The bridge jump looks totally different. I miss the old cinematography! Plus they have replaced the background entirely. What's happening?!? This new trailer got me worried.

    @antovolk and @PropertyOfALady - do either of you guys know what's up here?

    I would add to this that the bridge jump looks really wonky in comparison to the December trailer. It's clear more CGI has somewhat taken away from the impressiveness of the stunt.

    EhAmFasVgAAX92O?format=jpg&name=large
    JNZCkzG.jpeg
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,643
    It's clear more CGI has somewhat taken away from the impressiveness of the stunt.

    EhAmFasVgAAX92O?format=jpg&name=large
    JNZCkzG.jpeg

    How so?
  • PropertyOfALadyPropertyOfALady Colders Federation CEO
    Posts: 3,497
    @Pierce2Daniel I think often when films are in the trailer stages, color grading is messed with a bit. As to why that is, I'm not sure. However, since No Time to Die is now completed, I think it'll most likely be the latter. The same happened with Spectre. It could be that they're tinkering a bit with it just to try it out. I'm actually not sure what the final grade was in SP between the two trailers. As for the CGI, that does seem weird! You're right. That first one looks better! It seems like they've shrunk everything or something.
  • SatoriousSatorious Brushing up on a little Danish
    Posts: 183
    The first trailer looks like it had the M31 LUT or similar thrown on top. Cinematic? Okay. Trope? Definitely. Too many films, posters, TV shows use this (heck even me). I much prefer the grade on the new trailer - a little more distinctive, soulful and naturalistic. I also suspect it is closer to how the final film will look. To be honest - if I'm sat there concerning myself about the colour grade this much after more than a minute or two - it's a sign that either the film is boring me or it's been massively overdone (eg. Spectre). I definitely agree on the CGI though. Bond and CGI never mix well!
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    edited September 6 Posts: 5,643
    I've overlaid two exact frames from the sequence on top of each other as a gif, with a fade between them, for a more precise display of the work that went into the background.

    giphy.gif
  • Posts: 4,240
    I've overlaid two exact frames from the sequence on top of each other with a fade between them for a more precise display of the work that went into the background.

    giphy.gif

    Link to higher quality gif:
    https://im7.ezgif.com/tmp/ezgif-7-3c5d0c34ae28.gif

    Is it me, or did they make the bridge higher?

    I think they achieved this shot using Mandolrian-esque LED screens. Sandgren used the screens in First Man

    EP2Mk-MWkAAUwMw?format=jpg&name=large

    Also, a big call to anyone who has the equipment to try and screencap the trailer in 4K. I'd be endlessly grateful.
  • CraigMooreOHMSSCraigMooreOHMSS Dublin, Ireland
    Posts: 5,643
    I've overlaid two exact frames from the sequence on top of each other with a fade between them for a more precise display of the work that went into the background.

    giphy.gif

    Link to higher quality gif:
    https://im7.ezgif.com/tmp/ezgif-7-3c5d0c34ae28.gif

    Is it me, or did they make the bridge higher?

    I think your eyes are playing tricks on you, @Pierce2Daniel! :)
  • edited September 5 Posts: 4,240
    I've overlaid two exact frames from the sequence on top of each other with a fade between them for a more precise display of the work that went into the background.

    giphy.gif

    Link to higher quality gif:
    https://im7.ezgif.com/tmp/ezgif-7-3c5d0c34ae28.gif

    Is it me, or did they make the bridge higher?

    I think your eyes are playing tricks on you, @Pierce2Daniel! :)

    I believe you're right. I think the screenshots I posted above are from two different moments in the same shot. One where the camera is panning slightly downwards; hence the impression the bridge is higher.

    I just watched the new trailer in Quicktime and, honestly, it feels like the first time I've seen it. The quality is beautiful. But absolute props must go Fukunaga who must of been one of the few people to watch La La Land and think that the same style would fit with 007. Absolute genius move...

    EgxhzAjXsAYnoCn?format=jpg&name=medium
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  • MalloryMallory Are you ready to get back to work?
    Posts: 991
    I have just listened to Team Deakins’ podcast interview with Sandren and the lad knows his craft inside out, same as Deakins. Fascinating interview.

    I am super excited by how NTTD looks and cant wait to see it on the big screen. Judging by the action bits in the trailer it is going to be nice, well framed steady shots which are suitably puleld out, so we can see everything, and barely any shaky camera. Fantastic!

    I see Alex Witt is Second Unit director again (having done CR, SF and SP) and again a very competent action shooter.
  • edited September 15 Posts: 4,240
    Mallory wrote: »
    I have just listened to Team Deakins’ podcast interview with Sandren and the lad knows his craft inside out, same as Deakins. Fascinating interview.

    I am super excited by how NTTD looks and cant wait to see it on the big screen. Judging by the action bits in the trailer it is going to be nice, well framed steady shots which are suitably puleld out, so we can see everything, and barely any shaky camera. Fantastic!

    I see Alex Witt is Second Unit director again (having done CR, SF and SP) and again a very competent action shooter.

    It's a good listen...Sandgren is a fan of the franchise, but Deakins speaks about Bond with open contempt 😂😂😂😂😂😂 Which is quite hilarious.

    Mendes really had to encourage him to do the film. Supposedly, Deakins wasn't interested in doing SF in theory; Mendes gave him the script and told him to not concentrate on the characters' name or the franchise baggage and just focus on the story and characters. It was that which convinced him to do the film. Which is a testament to how good a script SF really was....a high benchmark for the franchise.

    I suppose when you're a master like Roger Deakins, you can afford to be sniffy about what projects you do. He is a master of light and composition after all.

    However, I just scanned upwards and saw those La La Land shots and they are beautiful.......

    Also, is it me or is Daniel Craig just looking more rugged and sexy in this film than ever?!? Perhaps Fukunaga and Sandgren are just photographing him in a way more attractive way:

    Eh9JtFFWoAEthXy?format=jpg&name=900x900

    Something that I think Campbell and Mehuex didn't do consistently in CR. Which is no way to treat your leading man...

    casino-royale-movie-screencaps.com-8529.jpg?strip=all

    Also, do we know if these are actual shots of the film or B-Roll..... @antovolk

    unknown.png?width=719&height=295

    unknown.png?width=719&height=300

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  • Posts: 2,810
    I'm thinking B-roll, though first shot may be actual film footage
  • matt_umatt_u better known as Mr. Roark
    edited September 14 Posts: 2,443
    The first one is 100% from the film.
  • Posts: 5,198
    matt_u wrote: »
    The first one is 100% from the film.

    Definitely!
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