Viareggio ,Tuscany 15 August 2k8 1.30 Pm ,Photo Taken by Fabio Pirovano Using Canon A 620 F 6.3 ISO 50 1/500 8.5 mm Vivid Mode Zoom browser Ex Correction
Watching this film I was also impressed by a terrific daylight aerial shot ,one of greatest never seen before among the other ones seen on The Insider , ALI and Manhunter;I never had seen some clouds so real,so tangible ,asking myself how they been able to catch it knowing that any cgi effects weren’t involved either any tripods can’t be fixed over clouds.This was enough for push me to try write something about this Gem into modern “state of Art ” Cinematography.
Badly Written inspired by :
A converstion with Dion Beebe by Cameraguild.com
PARTNERS IN CRIME By Jay Holben American Cinematographer VOL 87 N°8
Forget glamour neon feelingof 80’s,pink flamingos and Girls on Bikini,Michael Mann rewrote greatly the genere, rationalized his way to tell us a story of 2 undercover cops vs. drug cartel,frippery free but without any loss of details,where High Def vision and subsequent look @ autenticiy help us to attest what we’re watching.During Hurricane Kathrina the problematic production(75% on Miami Locations) starts and runned for 105 days;Has happened with Collateral,Mann reteamed with the Academy Award Prize for Memoirs of Geisha Dion Beebe ACS,ASC spending months of pre-production testing digital devices,stratching the medium and trying things never used before.
Hi-Def been the first choice for the look of Miami Vice and Dion Beebe said“ WE WANTED TO SATISFY OURSELF THAT WE COULD ACHIEVE IN DIGITAL WAS NOT SOMETHING WE COULD SIMPLY PRODUCE ON 35 MM”.
Comparision’s test with HD been made using film stock KODAK VISION 2 50D 5201 and EXPRESSION 500T 5229 , both fit perfectly into HD look and been used shot by shot(With Arri235s/435s film camera)when was impossible use digital,expecially for underwater ‘s shots, high speed work and shots with T REX Superscope lenses extension system,a lens system for more deep’s shots,for step inside the character’s personal space,lenes that deamand a big amout of light but create a unique sense of begin present and claustrophobia.
Who’s writing is thinking that Collateral was a sort of training course for Miami Vice, HD catch amazing details on night sky, impossible at these days on film at 24 fps 180 degree shutter so that confirm to fit better in to low end sensitivity of the curve,dig in to the shadows,but have less latitude in the highlights than film.
Thats was a the greatest trick ,Dion Beebe encounter many exposure latitudes problems but found a deal at 1-2 stop working on HD cameras,3-4 stop working on Film;In to a particular scene(Biscayne Bay very small Location) Lighting actors to a T 22 means put lamps(18K HMIs) about 12’from them for keeping and hold the highlight outside,that’s was certain no a ideal deal,but had great results.
Using HD cameras also means deal with the High-Excessive Depth of field due 2/3” Chip’s Size, this time this feature was used pro the project. A daytime sequence in pre-production involved some standings agaist blue sky with beautiful cumuls clouds.When the footage been processed at company 3 by the Colorist Stefan Sonnefield apply the look set, the image popped off the screen almost s 3-d effect,it was the result of a combination ofincrease depth of field,exposure settings color timing and something in the nature of medium itself.
Working exclusively on A e B camera with Carl Zeiss 6-24mm Digizoom, picture’s look was set mainly with Thomson Grass Valley’s Viper, using whenever they could.Viper got ability to record a native 2.37:1 aspect ratio with standard spherical lenses without any loss of in image resolution ,and last but not the least Viper allowed the possibility to make adjustments in the camera ,adjustments on percentage of desaturation ,red or gamma, impossible with other camera as the great Panavision Genesis and its uncompressed mode to shot.
Despite the feature to grab image at 1.78:1 and use cropped process for achieve anamorphic aspect ratio the second choice fall over Sony Cinealta HDK-T950 and F900, due the lightweight compact size for fit into tight spaces.(t950 had possiblilty to separate camers’s imaging system for the bodyand processor by up 50 meters)
On digital ,for some situations available light seize controlled light ,by the way Digital permit to do things into a different way,”The trick is augmenting that light as seamlessly as possible. You have to be careful, because it’s very unforgiving. Just a bit too much light on a face relative to the background and it looks artificial” Said Beebe. Also this time mixing the tecnology and deal with the nature of light permitted to found the best way to telling us a story ,thats were the real challenge.Win.
Cover of the Italian R2 DVD Special edition with Blinking lamps and Ferrari Noise…As purist I Brought it hope into some special editon with more extras than the previous that I own, but nothing ,just “push here” on dvd-cover, you will see blinking 2 white leds on Ferrari Lamps and ear a powerful V8 engine noise…fucking cool but weird marketing choice…so I’m heading to blu ray soon I will tell you if Region 2 has some of never seen on the previous dvd version.