43 replies to this topic

[mrmoon]

I think the film is attractive. I'm disappointed that they've muted the color range in so many sequences, but it still has an elegant look.

That said, the Day of the Dead scene was always intended to look stark and menacing. The dominant colors on set were black and white with slight color accents. Van Hoytema may have bathed it all in a dusty haze (probably to evoke a sense of heat), but it was never going to "pop," even if Deakins had been behind the camera.

 

It would take Meheux for that. 

[Harmsway]

I can't say I miss Meheux's unnaturally oversaturated look for Casino Royale, but, yeah, in his hands the Mexico stuff would be more colorful.

[Royal Dalton]

What were colourful locales in the production/media stills and vlogs now appear dark, dingy and to be honest, pretty damn fugly

 

Yeah, it's a shame.

 

I don't like the wobbly camerawork in this one, either.

[The Shark]

If anything, Hoytema's work here is very similar to Jeff Cronenwerth's work on David Fincher's recent films - namely The Girl With The Dragon Tattoo and Gone Girl. Haven't seen anyone rip into him for making films "cliché dark" or whatever.

 

I was going to mention Fincher/Cronenwerth, whose lifeless, sterile, formaldehyde aesthetic I've never been a fan of. I realise I'm in the minority there, of course. But yeah, SPECTRE's cinematography seems more in line with the sombre contemporary work of Pfister, Cronenworth, Greig Fraser and Bruno Delbonnel than the rich, vibrant look of classic Bond that Deakins paid tribute to in Skyfall. 

[antovolk]

Honestly, I find the idea of a "classic" Bond film with such a look very intriguing if I'm honest.....and I like it. Anyway...

[Mr_Wint]

Definitely not a fan of this look. It is not just the colour grading, the image looks soft and blurred. Very generic.

[The Shark]

To be fair, the shots I posted on the other page were from compressed Youtube vids.

[Harmsway]

My sense from hearing Mendes talk about the film early on is that he wanted the film to be a bit eerie, almost haunted, taking its cue from the title. I think Van Hoytema's cinematography gives the film something of that atmosphere.

I think it's also easy to overstate how somber it all looks. The snow scenes--Mr. White's appearance aside--are bright, very much in line aesthetically with the classic Bond snow scenes, and while the Rome scenes aren't bursting with color, they do look exceptionally luxurious.

I would prefer a more Deakins-y approach, but I'm not inclined to be too negative.

[Hockey Mask]

Without trying to sound too snobby, complaining about the cinematography before seeing the movie is kind of like saying a recipe calls for too much salt before tasting it. I was one of the first to call out the cinematography from the Mexico scenes in the trailer but to be fair we should taste all the ingredients together first. The script, the acting, the score, the pacing and the cinematography really should be experienced together before we judge to harshly.

But it is still fun to discuss. In fact, disregard this post.

[Pierceuhhh]

I've been disappointed with how movies have looked for years now. I think it started with the likes of Gladiator and Traffic. In fact, the recent Bonds, as dreary and artificial as they often look, have been among the few blockbusters not to veer too far down that DARK PATH. Some movies (Die Hard 4 comes to mind first for me) look dreadful. Like when a TV show makes everything blue to mask the low production values.

I'm happy to wait to see the final product, but can't help but feel disappointed. Imagine if those blue skies and water in THUNDERBALL were artificially sunblasted and yellow. Ughhh.

[RMc2]

I've been disappointed with how movies have looked for years now. I think it started with the likes of Gladiator and Traffic. In fact, the recent Bonds, as dreary and artificial as they often look, have been among the few blockbusters not to veer too far down that DARK PATH. Some movies (Die Hard 4 comes to mind first for me) look dreadful. Like when a TV show makes everything blue to mask the low production values.

I'm happy to wait to see the final product, but can't help but feel disappointed. Imagine if those blue skies and water in THUNDERBALL were artificially sunblasted and yellow. Ughhh.

 

I agree, the Craig Bond movies have looked absolutely gorgeous and bucked the trend for over-grading. I love how EON know to keep things looking real (albeit encouraged by Nolan Batman and Bourne). The SPECTRE trailers are very intriguing, in terms of the use of grading. Can't wait to see the final results.

 

Traffic's grading is so painful to watch. The shaky-cam is also far too much. 

[Mr_Wint]

In principle I don't see anything wrong with digital color correction. But it should be used to enhance the picture, not degrade it.

This should be the new standard:

[SecretAgentFan]

IMO, "Life of Pi" looked very unrealistic (and it was supposed to, of course).  Definitely not my taste for the colors in a Bond film.

[Gay Bond]

Well I was blown away by the full trailer but I confess I'm a little uneasy about the colour palette. Every scene seems to be some combination of orange and blue, almost as if the rest of the colour spectrum doesn't exist.

 

I can understand certain scenes calling for minimal colours, but this is a Bond film, not Mad Max.

 

Perhaps it's just personal taste on my part, but with this being talked up as a 'classic Bond film', I was hoping for a return to colourful exotic locations, something that used to be a staple of the Bond franchise.

 

 

Anyway, I suppose it's a minor quibble. I'm sure I'll enjoy it either way.