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Member Since 31 Oct 2010
Online Last Active Today, 10:12 AM

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In Topic: Hoyte Van Hoytema is the Cinematographer

Today, 07:02 AM

The aspect ratio could very well work if Mendes and Hoytema choose to shoot the big sequences in 65-70mm if they end up not using the IMAX cameras.

Having said this, I think the film will most definitely use the camera's and is probably one of the reasons why Mendes chose Hoytema in first place. Being that he has worked with those cameras and know how to operate them as well, on top of Hoytema's choice of shooting on film. .


Today, 06:57 AM

Not like that was a big secret. She rarely does films now anyways, plus her Oscar (bait) film Unbroken is getting some buzz around out, so there you go.

Can't say I ever liked her in anything besides GONE IN 60 SECONDS and SALT.

Agreed. I only liked her in Gone In 60 Seconds, everything else is just asking too much to tolerate.


Can't say I'm going to miss her.

In Topic: Hoyte Van Hoytema is the Cinematographer

Yesterday, 02:34 PM


I'd be shocked if the major action sequences weren't shot on 65 or 70mm let alone IMAX 70mm.


I agree. 


IMAX CEO Richard Gelford told investors during a conference call back in September that there was a likelihood that Bond 24 (together with Star Wars) would use IMAX cameras. 

Now that it has been confirmed by Hoytema that Bond 24 will be shot on film, I really do expect certain sequences to use IMAX 70mm.


Isn't Abrams shooting Star Wars with the IMAX digital 3D camera though? I could be wrong, but that's great that there's at least a form of enthusiasm (probably the wrong word) from IMAX wanting Bond 24 to use the IMAX cameras.


IMAX 70mm could easily do the larger scenes (stuff that doesn't require a whole lot of dialogue, those camera's are noisy!) or use the 65-70mm for that and just reserve the IMAX camera for the action sequences. I think this is a great likelihood to happen.


Thanks, Shrublands!

In Topic: Word Association

Yesterday, 01:53 PM





In Topic: Hoyte Van Hoytema is the Cinematographer

Yesterday, 01:52 PM

I like his views on the whole Film vs. Digital debate. There's ultimately no real winner or loser, it's just a matter of preference and comfort with the director and the cinematographer. When I was at a Q&A for the 25th anniversary of Manhunter, Michael Mann was asked what was easier to shoot in. He said that over the years, film has actually evolved to become much easier to shoot and set up with then it was when he was using it. Ultimately he chooses to shoot digitally with a specific shutter that gives his film a distinct quality that otherwise film stock cannot really achieve. He shot the nightclub scene in Collateral in film since it was actually going to be much easier to film than digital (mind you that it was the early early stages of digital filmmaking with the Viper HiStream camera) and filmed the pilot of the HBO series Luck in film. In the end, it's just just preference.

With that, it is funny to continue shooting on film when everything just gets converted and distributed digitally to theaters now, which is why several people, including theater owners saw Paramount's film stock distribution for Interstellar as backwards. In way it is, but digital distribution and projection costs less and works better. For the most part. Then again, directors like Nolan, Tarantino, Scorsese, and PTA can continue to shoot on film, as there's still some theaters that still project film stock. I know there's only two small multiplexes near me that do so.

With Skyfall being shot digitally, it was more of Deakins decision than Mendes. I guess the two had some small clashes over it, but ultimately, Mendes let Deakins shoot Skyfall digitally. The film came out stellar and earned several wins and nominations for Deakins' cinematography. Having said that, the film did get an IMAX conversion in post-production to their format to be distributed digitally (of course), which worked beautifully since it was shot digitally and the process was easier. With Mendes and Hoyte shooting Bond 24 on film, I'd be shocked if the major action sequences weren't shot on 65 or 70mm let alone IMAX 70mm.

Since both are enthusiastic about shooting it on film if approached by IMAX, which I'm fairly certain they will be, as I believe IMAX would be crazy not to, Bond 24 could possibly shoot on IMAX, which is the highest form of film quality there is for IMAX -- 70mm. A Bond film being shot on actual IMAX cameras instead of digital conversion in post-production is something I've wanted for some time now. Being that Hoyte Van Hoytema now has the experience of shooting on IMAX and 65 and 70mm, I'm sure that's got to catch Mendes' visual eye in wanting to shoot the action sequences in such a similar way.


I could be entirely wrong too, but I'm just going to go forth with my wishful thinking.