Your channel puts a crazy amount of hard work into these videos. From matching the shots indistinguishably from source films to the technical prowess and recreation of everything down to camera movements/lighting. All these things are not seen on RUclips at this level of expertise. I have watched and follow countless filmmaking based channels and most of them don't even come close even with a seemingly high quality of production. What an outstanding channel with subscriber counts that should at least be 10x what it currently is.
Thanks a lot man… really appreciate your kind words. I guess that catering to the high end makes kind of lonely in the sub department. I can't complain though, it is where my passion is.
I watched your vid on THE KILLER lighting. Seemed like the talent was lit with 2 basic lights at lower temps. It came out great! I thought the lighting setup would have been much more complicated. Thank you for sharing!
Thanks man... believe me, we are at awe of what Fincher, Messerschmidt and the crew did. So much better than what we did and also original... which makes it quite a bit harder. Very happy you see us at that level... maybe one fine day.
Thank you so much for your hard work. It's informative and entertaining in a masterful way. The sheer polish and passion of this channel never ceases to amaze me. Kudos.
Totally... I love that cinematography is such a self revealing art form. All you need to do is look hard. You can lean all of Finchers tricks by just watching.
Again a masterclass in practical information sharing, along with product highlight and insight to a well done film. Thanks so much for the work you put into this, and for sharing.
Nicolas, that was another first class show! No need to knock it down a peg. Thank you for the Master Class! ❤ Hope some of that wine ended up in your glass. Prosit!!🍷
Thank you so much Alessandro… it is a real pleasure to make this for people like you. Thank you for your kindness AND your support. The Division salutes you! Cool things are in the works.
I must say when I first saw the movie it was one of those I had to research. Who shot it, on what camera. It was a thing. It was so well shot. Probably the most obvious and visceral reaction I've had looking at an image.
Nicholas ! I can only say THANK YOU for giving us this kind of highest quality content on such a regular basis. This 30 mins video was a MASTERCLASS, I would easily pay real hard dollars for that one alone! You result - the final short film is amazing (I have seen the Netflix one a few times, because I loved it). And the behind the scenes info you came up with is simply woooow.... :-)
Very happy you liked this one… I liked the Killer t the first time watching, but after my analysis and having it watched several times, I am madly in love with it. It is an acquired taste. Thank for watching Peter.
This is incredibly helpful information, it looks significantly better than the original. (Obviously not to disregard the original, its incredible work and the vfx is seamless)
Glad you feel that way.... better?!?! Well, thank you... and of course I strongly disagree. Messerschmidts images take our images home after a party and never call again. No shame in admitting that... with that budget, crew, and an academy award in the pocket they better! ;-)
@@MediaDivision No shame in admiration! I am certain I have a bias for the authentic anamorphic artifacts over simulating them (simply because 90% of my compositing work is simulating anamorphics). I love the way the real rifle scope looks compared to the comped in one, since the original compositors chose to add a lot of stylized distortion to the circle of illumination from the scope. However that is an artistic choice and its purpose in storytelling is fulfilled perfectly. Everything else they did with the scope (internal reflections and whatnot) was really freaking cool.
@@zircron45 Ahhh… that explains it ;-) absolutely agree on the rifle scope there… it is indeed a mix of "too good" and "too bad" for a real scope image… beginning at the crosshair and brightness, to the totally over exaggerated distortions and reflections in the scopes barrel. I haven't seen any internal reflections like that in any scope or lens in general. All good in the context of course, I would have made it a bit more "real" by filming a real cross hair and do a post overlay, and I would have left the stupid motion tracking cross out.
Despite the disclaimer at the end, I think you got more than close enough to the original, and on a budget that was previously smaller than one of those wine magnums at the Italian consulate :)
Ahhh… a sophisticated drinker is in the house 😘 you are darn right on those magnums… lord, those can be expensive. Our budget was more in the single serving area 😅 Very happy you think we got there. In hindsight, it is always so easy to tell what could have been better, and boy where we all tired. Thanks a lot for your support, it is very much appreciated Obsidian!
Most "real" aka linear raw shooting video cameras have true iso values. Log shooting cameras like the Lumix and Sony A series have log curves that brighten up the image by a few stops (2.5-3EV) but the sensor is actually at it's native ISO of 100 despite saying it's 800. This means the Alexas ISO 800 is actually closer to ISO 5000/6400 in slog3. Same goes for RED. You'll know why by shooting RAW photos with these cameras. Suddenly you'll find the second native ISO of 3200 in slog to actually be ISO 400 in RAW photography.
"The Italian consulate is played by... the Italian consulate." ONLY YOU, dude. Only you would go this extra mile. XD So, I don't say this lightly -- this is the first shot recreation / breakdown I've seen of a Fincher film that I suspect would NOT creep him out or make his sphinctre clench. Clearly you know the general "cadence" of conversation around him and his work is often extremely cringe and misses the more everyman, artful common sense/unpretentious side of his craft. So what you made here is especially impressive. On a technical side, it's just great. I could notice a slower shutter kind of motion cadence and higher noise on some shots but nothing intrusive. What's fantastic too is that it's super interesting seeing how in some cases the actual anamorphic lens version is more "clean" than the "dirtied up" image in post -- a VERY valuable find. This is informative in general. and even though I was looking forward to it, and always have my bar a little higher because it's Media Division -- your attention to the extra details, going to the actual locations, heavily consulting Messerschmidt's plans -- once again, you somehow impressed me even with my high expectations. Bravo monsieur. And also the record, as a director myself, I'm MUCH more critical on stuff like this. Bit of a personal anecdote but I attended the American Film Institute as a Directing Fellow last year and met many cinematography instructors and brilliant students from all over the world -- many of whom have assignments like this in their portfolios among other things. Philosophically, I actually believe 90% of "shot recreation" assignments completely fail and are a waste of time -- because even IF the person recreates the shot perfectly -- the product (and often, the person) always end up losing how the original creators actually arrived at their *decision-making.* They focus on the product, not the process. Or vice versa. This is so good because it so closely approximates it and actively gets inside the decision-making without any "mystical juju" or bullshit (of course: especially common in LA) And one other thing -- I positively adore how you acknowledged the ways it wasn't the original -- very humble but not pedestaling. What I love is that you have the reverence and the cheeky fun but also deviated and weren't overly "precious". Your years in advertising and doing this professionally really show -- but of course -- its your showmanship, as always, which is second to none. And you didn't ever forget to discuss or shout out the different departments and incredible artisans, such as Artemple or the great Ren Klyce (an absolute legend, only now starting to be acknowledged) -- you never missed the forest for the trees. And "stuck to your plan" (hehe). Bullseye. Cheers from LA, Soren.
Thanks a lot Soren… somehow I almost missed your nice comment. Let me beginn by saying (as usual) thank you so much for your support… it is very much appreciated. The division salutes you. I wonder what Fincher would actually say… never mind his sphincter… in another life maybe. Yeah, we had problems with shutter due to the cheap construction light, something that didn't happen during our tests using the MAVO with the exact same settings… only the Alexa showed those problems. Tried to fix it in post as good as possible. The PAVO are indeed quite sharp, especially for anamorphic lenses. Thanks for thinking we striked the right balance for the result… after the fact, you see so many simple things that could have been done differently to way improve the results… but hey, that s what test are for. Wish I was in LA so we could go for a beer sometimes Cheers Nikolas
Thanks a lot. That is a DIY rig in a "Ready Rig" style… it is made for larger gimbals just using one arm for this setup. It helps to fit under a door frame and not to be visible for a mile
Fantastic video - To create that dirty yellow colouring for the inside scene, was that done with the practical lights, cameras white balance or grading in post? Would love to understand how you achieved those tones.
Thanks a lot… well, we basically tell and show you how it is done in this video?! We describe the process and you see the behind the scenes shots. The construction light we used is gelled with yellow and the tube lights are tinted, too. Of course, the results are heavily graded in Resolve to match the color of the original as good as possible - as I am sure is the case for the original
of course… all shots showing the other side are purely shot on available light… so, the colors are matched in the grade. It is not that hard to grade it that way, but it is time intensive
No, that is our MAVO LF that we also use for the tele and scope shots… the Alexa doesn't record audio when in RW mode… not worth the effort of Time Code etc. when the MAVO looks great and is also very convenient.
@@zohairkhan5755 Thanks… it is a quite simple setup, too. One small LED panel shot through a large pop up diffusion, one tube light for the rim, and the practical in the background. No negative fill or fill light is used. The room is tiny, and you can see the door coming into frame during the lens test section.
Really great video top marks for all the super - hard work you guy done - TOP MARKS. But there are better looking films Fincher made before: Seven, Fight Club, Zodiac just to name a few, even Gone Girl was better, but I see this be more popular with younger audience so fair game 🤷🏻♂️
Thanks a lot and it's our pleasure. Nothing against my heroes Darius and Jeff but admittedly, new technology used in interesting ways helped messerschmidt to craft something different that would have been impossible to do on film. "Better" is always a matter of taste and should not be argued. In this context, the cinematography of the Killer is surly more interesting and easier to recreate
@@MediaDivision By the way did you hear on the commentary how a grip on the set of killer took a photogrammetry of the sleeping pit bull with his iPhone, and then they used that in the shots with the dog sleeping (when the killer breaks into a seaside house with a pitbull on a mat). Anyway MEDIA DIVISION RULES!!!!!!!!!!!!!!!! Quality!!!
As viewers we associate certain looks with specific types of production because we are used to them through decades of watching films made with them - some technologies are associated with expensive high quality cinema, sometimes despite being hacks. 24 fps and anamorphic are two examples of this. 60fps looks objectively better than 24fps, but our brains tell us it is "cheap video". Anamorphic is a hack to work around limited film size and spherical has a more accurate projection, but our brains tell us anamorphic is "expensive movie". So even after almost two decades of digital filming and now with modern wide sensors most viewers will still instinctively prefer a film with anamorphic artifacts over a film without them - most of them won't even be able to tell you why. Perhaps this will change in a few more decades with a generation of viewers that are used to expensive productions with 60fps, HDR, UHD, spherical lenses and portrait mode frames.
yes to all that … but. let me expand on that. After a decade of the possibility to easily create a "better" image by upping spatial and temporal resolution… and countless attempts to bring that to main stream media, habits have significantly changed. Young audience don't have the same associations any more… some might have never watched interlaced footage on a CRT. This show an advantage of 24fps and less "sharp" image beyond viewing habits … for cinematic purposes of course. The visual mechanics seem to work very different and high FPS and detail sucks the poetry out of the image. The brain seems to switch from memory/dream state into reality mode if stops to fill the holes. With cinemas 24fps we seem to have arrived at an ideal frame rate… to induce that “magic”. Anamorphic seems to do kind of the same trick with spatial quality.
@MediaDivision 😇🕊. And considering that your channel is one of my favourite subscriptions, including this production that I thumbed up, you're otherwise probably happy with my taste.😆
Here s how they created the scope in the movie. Direct quote from the DP Erik. We had a scope custom made. We sent it to a prop house and they put LEDs inside it so I could get those eye lights on his. And there's a very tight close up. And there's a lot of color contrast in that. Yeah. That is because the fill light coming from the from the scope is like 1000 degrees cooler than the, you know, the light on the side of the space, you know. And there's something in the foreground too is just a little bit of blurred in the frame as well. also they have used bunch of diopters to be able to get that closeup.
He is referring to the close ups of the killer with illumination of his face "from" the scope… not of the shots through the scope. Those are CG overlays… very apparently. We did the same thing for two closeups (like the very last shot) by simply shining a flashlight through the scope. We didn't have to use Diopters - we had the very capable 65mm Macro for those scenes
Filmmaking Masterclass: Recreating "The Matrix" with Anamorphic - Epic Episode #21 "After this, there is no turning back. 🔵You take the blue pill ... the story ends, you wake up in your bed and believe whatever you want to believe. 🔴You take the red pill ... you stay in Wonderland ... and l show you how deep the rabbit hole goes. Remember ... all l'm offering is the truth, nothing more." Like, Subscribe & Support "The Division"
Adrian.... you are just to nice and generous. Thank you so much for making this possible! You almost made me cry.... if every 1000 viewer would be of your caliber, this might be somewhat profitable. Thank you again! The red pill.... or the mushroom.... whatever it takes to go deeper into that rabbit hole, we shall fear nothing as long as you are with us. The division salutes you!
![Fincher on Fincher - How David Fincher Directs a Movie [The Director’s Chair]](http://i.ytimg.com/vi/dljfMoCXnSk/mqdefault.jpg)
Your channel puts a crazy amount of hard work into these videos. From matching the shots indistinguishably from source films to the technical prowess and recreation of everything down to camera movements/lighting. All these things are not seen on RUclips at this level of expertise. I have watched and follow countless filmmaking based channels and most of them don't even come close even with a seemingly high quality of production. What an outstanding channel with subscriber counts that should at least be 10x what it currently is.
Thanks a lot man… really appreciate your kind words. I guess that catering to the high end makes kind of lonely in the sub department. I can't complain though, it is where my passion is.
i did a killer recreation shortly after it came out and the most fun part of it all was how easy the lighting was to replicate. so simple.
good job!
Indeed… but the location is almost impossible to replace adequately. Finchers production designers know what they are doing.
Thanks man
I watched your vid on THE KILLER lighting. Seemed like the talent was lit with 2 basic lights at lower temps. It came out great! I thought the lighting setup would have been much more complicated. Thank you for sharing!
adore you media devision, inspired to continue making videos duduk performances as hobby, with scopes
Very happy to have that effect for you… can't ask for more. Thanks man!
This is my film school. Thank you for this. Learned a lot!
Glad it was helpful! Love to be your prof ;-)
This is beautiful. Thank you for making this!
Totally our pleasure man... appreciate your kindness. Thanks for watching
A perfect and great breakdown of what goes on behind the scenes, no need to talk down. This production surpasses many cheesy Hollywood productions.
Thanks man... believe me, we are at awe of what Fincher, Messerschmidt and the crew did. So much better than what we did and also original... which makes it quite a bit harder. Very happy you see us at that level... maybe one fine day.
This channel is soo underrated, you deserve 1 mil. subs guys! Cheers
Thanks man… we are all for it… spread the word. Although, I don't think there are a million higher end people on this platform
Thank you so much for your hard work. It's informative and entertaining in a masterful way. The sheer polish and passion of this channel never ceases to amaze me. Kudos.
Totally our pleasure and mission … than you so much for your kind words and for watching of course!
This is the very first channel I turned on notifications for. Love you guys!
Then you are one of the 7 who watched this through notifications?!… maybe ;-) That seit doesn't work. Glad to see you here anyways!
This video is soooo awesome and informative!! Thank you for sharing!
You are very welcome! Thank you for being around
Really awesome. Recreation looks great.
Thanks man.... appreciated!
I love Fincher and this movie. He's such a perfectionist about his craft.
Totally... I love that cinematography is such a self revealing art form. All you need to do is look hard. You can lean all of Finchers tricks by just watching.
Again a masterclass in practical information sharing, along with product highlight and insight to a well done film. Thanks so much for the work you put into this, and for sharing.
Glad you feel "edutained" Dave… thanks for hanging with us - it is nice to have people like you around.
Bravo!
Cheers man!
Masterpiece
Danke Dir… Du spielst ja leider nicht mehr mit :-(
Nicolas, that was another first class show! No need to knock it down a peg. Thank you for the Master Class! ❤ Hope some of that wine ended up in your glass. Prosit!!🍷
Cheers man… over the years a lot of that wine when through my liver indeed ;-)
This video is phenomenal - the work you put into this is amazing.
Thank a lot AK... appreciated...... thank you so much for making it possible. The division salutes you!
Loved so much the movie analysis and the VFX/Lenses walkthrough... Re-made scenes are spectacular. Great content as always. Thank You!!♥
Thank you so much Alessandro… it is a real pleasure to make this for people like you. Thank you for your kindness AND your support. The Division salutes you! Cool things are in the works.
Man.... I love your vids... Sincerely, I always get excited when I see a thumbnail for a new one. So much effort put into them. Congrats. Amazing work
Thank you Ricard… very happy you feel that way.
Wow!
Thanks man
OMG, i will never regret to follow you, thank you so much, you inspire me!
So happy to inspire you! The best thing one can possibly do. Thank you for being around
Another masterpiece my friend. ps : thumbs up for the Smiths ;-)
Thanks a lot Bernard… Big mouth strikes again ;-)
Great episode! When I saw footage from macro anamorphic, I was like 😮 it’s revolutionary choice for affordable anamorphic
Thanks… totally, there is just so few lenses that can do this... not to speak of affordability
I must say when I first saw the movie it was one of those I had to research. Who shot it, on what camera. It was a thing. It was so well shot. Probably the most obvious and visceral reaction I've had looking at an image.
Beautifully executed on every level indeed… and interesting to see how much of that is accomplished in post!
This was really awesome and great fun! Thanks to your whole team from an aging neophyte cinematography buff (obsessive actually).
Obsessives of the world unite ;-) thanks a lot for our kindness and for hanging around! And…
Nicholas ! I can only say THANK YOU for giving us this kind of highest quality content on such a regular basis. This 30 mins video was a MASTERCLASS, I would easily pay real hard dollars for that one alone! You result - the final short film is amazing (I have seen the Netflix one a few times, because I loved it). And the behind the scenes info you came up with is simply woooow.... :-)
Very happy you liked this one… I liked the Killer t the first time watching, but after my analysis and having it watched several times, I am madly in love with it. It is an acquired taste. Thank for watching Peter.
Always facinating video. Thanks!
Happy it's for you Steven! Thanks for watching and commenting
I love this channel so much!
The production quality is always top-notch!
Thanks a lot man… appreciated. Always trying to put out something worth your time!
Thanks!
Thank you so much … very much appreciate this contribution, your generosity makes it all possible. The Division salutes you!
stunning re-building
Cheers man!
Media Division Rocks! The best…
Thanks a lot… appreciate your kindness
Phenomenal per usual fellas
Thanks a lot! Appreciated!!
I love your stuff! A lot of effort going into these!
You bet… very happy you enjoy.
exceptionally presented
Thanks man… that is kind of you to say. Glad to have you around
This is incredibly helpful information, it looks significantly better than the original.
(Obviously not to disregard the original, its incredible work and the vfx is seamless)
Glad you feel that way.... better?!?! Well, thank you... and of course I strongly disagree. Messerschmidts images take our images home after a party and never call again. No shame in admitting that... with that budget, crew, and an academy award in the pocket they better! ;-)
@@MediaDivision No shame in admiration! I am certain I have a bias for the authentic anamorphic artifacts over simulating them (simply because 90% of my compositing work is simulating anamorphics).
I love the way the real rifle scope looks compared to the comped in one, since the original compositors chose to add a lot of stylized distortion to the circle of illumination from the scope. However that is an artistic choice and its purpose in storytelling is fulfilled perfectly. Everything else they did with the scope (internal reflections and whatnot) was really freaking cool.
@@zircron45 Ahhh… that explains it ;-) absolutely agree on the rifle scope there… it is indeed a mix of "too good" and "too bad" for a real scope image… beginning at the crosshair and brightness, to the totally over exaggerated distortions and reflections in the scopes barrel. I haven't seen any internal reflections like that in any scope or lens in general. All good in the context of course, I would have made it a bit more "real" by filming a real cross hair and do a post overlay, and I would have left the stupid motion tracking cross out.
Damn,its so good!
Glad you enjoy AnLe
great break down
Thanks a lot!
Despite the disclaimer at the end, I think you got more than close enough to the original, and on a budget that was previously smaller than one of those wine magnums at the Italian consulate :)
Ahhh… a sophisticated drinker is in the house 😘 you are darn right on those magnums… lord, those can be expensive. Our budget was more in the single serving area 😅 Very happy you think we got there. In hindsight, it is always so easy to tell what could have been better, and boy where we all tired. Thanks a lot for your support, it is very much appreciated Obsidian!
Most "real" aka linear raw shooting video cameras have true iso values. Log shooting cameras like the Lumix and Sony A series have log curves that brighten up the image by a few stops (2.5-3EV) but the sensor is actually at it's native ISO of 100 despite saying it's 800.
This means the Alexas ISO 800 is actually closer to ISO 5000/6400 in slog3. Same goes for RED. You'll know why by shooting RAW photos with these cameras. Suddenly you'll find the second native ISO of 3200 in slog to actually be ISO 400 in RAW photography.
"The Italian consulate is played by... the Italian consulate." ONLY YOU, dude. Only you would go this extra mile. XD
So, I don't say this lightly -- this is the first shot recreation / breakdown I've seen of a Fincher film that I suspect would NOT creep him out or make his sphinctre clench. Clearly you know the general "cadence" of conversation around him and his work is often extremely cringe and misses the more everyman, artful common sense/unpretentious side of his craft. So what you made here is especially impressive.
On a technical side, it's just great. I could notice a slower shutter kind of motion cadence and higher noise on some shots but nothing intrusive. What's fantastic too is that it's super interesting seeing how in some cases the actual anamorphic lens version is more "clean" than the "dirtied up" image in post -- a VERY valuable find. This is informative in general. and even though I was looking forward to it, and always have my bar a little higher because it's Media Division -- your attention to the extra details, going to the actual locations, heavily consulting Messerschmidt's plans -- once again, you somehow impressed me even with my high expectations. Bravo monsieur. And also the record, as a director myself, I'm MUCH more critical on stuff like this.
Bit of a personal anecdote but I attended the American Film Institute as a Directing Fellow last year and met many cinematography instructors and brilliant students from all over the world -- many of whom have assignments like this in their portfolios among other things. Philosophically, I actually believe 90% of "shot recreation" assignments completely fail and are a waste of time -- because even IF the person recreates the shot perfectly -- the product (and often, the person) always end up losing how the original creators actually arrived at their *decision-making.* They focus on the product, not the process. Or vice versa. This is so good because it so closely approximates it and actively gets inside the decision-making without any "mystical juju" or bullshit (of course: especially common in LA) And one other thing -- I positively adore how you acknowledged the ways it wasn't the original -- very humble but not pedestaling.
What I love is that you have the reverence and the cheeky fun but also deviated and weren't overly "precious". Your years in advertising and doing this professionally really show -- but of course -- its your showmanship, as always, which is second to none. And you didn't ever forget to discuss or shout out the different departments and incredible artisans, such as Artemple or the great Ren Klyce (an absolute legend, only now starting to be acknowledged) -- you never missed the forest for the trees. And "stuck to your plan" (hehe). Bullseye.
Cheers from LA, Soren.
Thanks a lot Soren… somehow I almost missed your nice comment. Let me beginn by saying (as usual) thank you so much for your support… it is very much appreciated. The division salutes you.
I wonder what Fincher would actually say… never mind his sphincter… in another life maybe.
Yeah, we had problems with shutter due to the cheap construction light, something that didn't happen during our tests using the MAVO with the exact same settings… only the Alexa showed those problems. Tried to fix it in post as good as possible. The PAVO are indeed quite sharp, especially for anamorphic lenses.
Thanks for thinking we striked the right balance for the result… after the fact, you see so many simple things that could have been done differently to way improve the results… but hey, that s what test are for.
Wish I was in LA so we could go for a beer sometimes
Cheers Nikolas
great work! what is the camera support system at 16:25 called? looks like a great alternative to easyrigs
Thanks a lot. That is a DIY rig in a "Ready Rig" style… it is made for larger gimbals just using one arm for this setup. It helps to fit under a door frame and not to be visible for a mile
Fantastic video - To create that dirty yellow colouring for the inside scene, was that done with the practical lights, cameras white balance or grading in post? Would love to understand how you achieved those tones.
Thanks a lot… well, we basically tell and show you how it is done in this video?! We describe the process and you see the behind the scenes shots. The construction light we used is gelled with yellow and the tube lights are tinted, too. Of course, the results are heavily graded in Resolve to match the color of the original as good as possible - as I am sure is the case for the original
of course… all shots showing the other side are purely shot on available light… so, the colors are matched in the grade. It is not that hard to grade it that way, but it is time intensive
@@MediaDivision OK thank you. Was wondering how much of the 'final look' is achieved on-set vs grading.
@7:03 is the mismatched frame at the top of the video in the movie? Or is that because of the text overlay you did?
No... It is just a quickly made extension of widescreen to 16:9
The part where you're talking to the camera (like at 1:35), what was that shot on? Was it also the Alexa?
No, that is our MAVO LF that we also use for the tele and scope shots… the Alexa doesn't record audio when in RW mode… not worth the effort of Time Code etc. when the MAVO looks great and is also very convenient.
… and thank you so much for your support of course!!!! We salute you!!!
@@MediaDivision Looks fantastic. It's a good lighting setup to study for interviews. Thank you for the info.
@@zohairkhan5755 Thanks… it is a quite simple setup, too. One small LED panel shot through a large pop up diffusion, one tube light for the rim, and the practical in the background. No negative fill or fill light is used. The room is tiny, and you can see the door coming into frame during the lens test section.
@@MediaDivision Thanks!!
Really great video top marks for all the super - hard work you guy done - TOP MARKS. But there are better looking films Fincher made before: Seven, Fight Club, Zodiac just to name a few, even Gone Girl was better, but I see this be more popular with younger audience so fair game 🤷🏻♂️
Thanks a lot and it's our pleasure. Nothing against my heroes Darius and Jeff but admittedly, new technology used in interesting ways helped messerschmidt to craft something different that would have been impossible to do on film. "Better" is always a matter of taste and should not be argued. In this context, the cinematography of the Killer is surly more interesting and easier to recreate
First view ❤
Congrats ;-)
Like and comment on start of the video 😊
Thats the spirit! Thanks man
what the hell this is crazy
Crazy is my middle name... and David Finchers first name
the killer is a cinematic masterpiece like water is dry jfc
never argue taste
There's a credit called "First Surname?"
Yes... thats the name of the Kubrick Members YT profile.... Thank you so much for your support Dimakop. We salute you!
I actually watched this movie today so that I can watch this spoiler free 😂
Nice… thats the spirit. THE KILLER is a bit on an acquired taste… the more often you watch it, the better it gets!
Hope you enjoy
I did enjoy it. Excited to see what spin you put on it. I'm sure it'll be awesome as always
I hope Fischer sees this and hires you NICHOLAS. Nicholas Fincher. or should I say Nicholas Cronenweth.
I am nothing against the master… appreciate your kindness man!
@@MediaDivision By the way did you hear on the commentary how a grip on the set of killer took a photogrammetry of the sleeping pit bull with his iPhone, and then they used that in the shots with the dog sleeping (when the killer breaks into a seaside house with a pitbull on a mat). Anyway MEDIA DIVISION RULES!!!!!!!!!!!!!!!! Quality!!!
FIght Club and Se7en !!!
Yes... those, too. Jeff and Darius are my heroes, but the cinematography of the Killer is is more interesting in this context.
Panasonic AU EVA1 is more superior cinema camera than S5 II X and GH7?
No.... usability is much better than any hybrid, but not the image. You can rig a S5IIx to fit the purpose and you even get ProRes to HD
🙏🙏🙏👌👌🌹🌹🌹🌹🔔🔔🔔🔔🔔🔔🔔🔔
😘
I don't get what the big deal is about anamorphic!
I don't get what the big deal about diamonds!
As viewers we associate certain looks with specific types of production because we are used to them through decades of watching films made with them - some technologies are associated with expensive high quality cinema, sometimes despite being hacks. 24 fps and anamorphic are two examples of this. 60fps looks objectively better than 24fps, but our brains tell us it is "cheap video". Anamorphic is a hack to work around limited film size and spherical has a more accurate projection, but our brains tell us anamorphic is "expensive movie". So even after almost two decades of digital filming and now with modern wide sensors most viewers will still instinctively prefer a film with anamorphic artifacts over a film without them - most of them won't even be able to tell you why.
Perhaps this will change in a few more decades with a generation of viewers that are used to expensive productions with 60fps, HDR, UHD, spherical lenses and portrait mode frames.
yes to all that … but. let me expand on that.
After a decade of the possibility to easily create a "better" image by upping spatial and temporal resolution… and countless attempts to bring that to main stream media, habits have significantly changed. Young audience don't have the same associations any more… some might have never watched interlaced footage on a CRT.
This show an advantage of 24fps and less "sharp" image beyond viewing habits … for cinematic purposes of course. The visual mechanics seem to work very different and high FPS and detail sucks the poetry out of the image. The brain seems to switch from memory/dream state into reality mode if stops to fill the holes. With cinemas 24fps we seem to have arrived at an ideal frame rate… to induce that “magic”. Anamorphic seems to do kind of the same trick with spatial quality.
The Killer was such a bad film that I thought Netflix messed up the credits.😅 I couldn't believe that Fincher directed it.
Never argue taste … especially not bad taste
Ok. My family that uses "The Killer" as a running gag for a bad movie choice is not going to argue with you then.
@@fto3367 Thank you
@MediaDivision
😇🕊. And considering that your channel is one of my favourite subscriptions, including this production that I thumbed up, you're otherwise probably happy with my taste.😆
The Killer is a very well made movie… that is what matters in this context. If you don't like it… OK, … I happen to like it.
The movie was shot with spherical lenses. Why would you use anamorphic and say it's a "recreation"?
Because they used "Anamorfake" and a comparison is interesting... of course, only for those interested in the subject.
Here s how they created the scope in the movie.
Direct quote from the DP Erik.
We had a scope custom made. We sent it to a prop house and they put LEDs inside it so I could get those eye lights on his.
And there's a very tight close up. And there's a lot of color contrast in that. Yeah. That is because the fill light coming from the from the scope is like 1000 degrees cooler than the, you know, the light on the side of the space, you know. And there's something in the foreground too is just a little bit of blurred in the frame as well.
also they have used bunch of diopters to be able to get that closeup.
He is referring to the close ups of the killer with illumination of his face "from" the scope… not of the shots through the scope. Those are CG overlays… very apparently. We did the same thing for two closeups (like the very last shot) by simply shining a flashlight through the scope.
We didn't have to use Diopters - we had the very capable 65mm Macro for those scenes
Filmmaking Masterclass: Recreating "The Matrix" with Anamorphic - Epic Episode #21
"After this, there is no turning back.
🔵You take the blue pill ... the story ends, you wake up in your bed and believe whatever you want to believe.
🔴You take the red pill ... you stay in Wonderland ... and l show you how deep the rabbit hole goes.
Remember ... all l'm offering is the truth, nothing more."
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Adrian.... you are just to nice and generous. Thank you so much for making this possible! You almost made me cry.... if every 1000 viewer would be of your caliber, this might be somewhat profitable. Thank you again!
The red pill.... or the mushroom.... whatever it takes to go deeper into that rabbit hole, we shall fear nothing as long as you are with us.
The division salutes you!