He says color correction which is a digital technique. All the colors in The Hatful 8 were done in an analogue process called color timing using very basic tools called printer lights with which you can only effect the brightness of and the color hue in red, green, blue, yellow, magenta, and cyan over in entire image.
Flags, flags, flags. Please do a video on flags. I bet you have every flag ever made in the 3D software. Flags, no one ever talks about flags. I love flags.
I love how the indoor overhead lights are made to look like natural light streaming though holes in the ceiling by adding snow falling with the down-firing beams.
Yes Flags... Please.. Everything else your doing is Awsome. Flags would complete everything with lighting that you are doing.. Keep up all the Great Work. Love it...
Hi I found your videos by accident a few days ago and have been watching them ever since. I'm a photographer but have shot a little video in the past. Regardless, the detail and information about lighting is truely inspiring. I have already been busy on eBay planning various DIY hacks. Keep up the great worrk. Matt UK @MrLeicaCom
The story behind the 70 as the camera is actually on a Hollywood reporter interview with all the Academy nomd Directors of 2015/16. QT talks about how he was at some rental house and randomly saw this gigantic lens, asked the guy what it went to and the tech was like 70mm. He said he just laughed and called Bob and was like.. This is what we're shooting on. With that said. I have no doubt the conversation you outlined has occurred in the past for sure! haha
i plan on doing my first film soon and it amaze me how you doing the cinematography break down is really teaching me alot also oneday can you break down cinematography oneday and talk about how important it is to filming thanks alot Great job
There is NO COLOR CORRECTION in this movie for outside scènes!!They came from camera like this!!Quentin say this in one interview!!Also his camera operator say this
I think that the pros use light meters because there are so many people on the crew working together that he himself is not going to change the lights. He is just going to tell somebody else how to change the lights and how much and, because of that, it's just easier to take a reading on the light meter and relay that info accurately.
does Tarantino usually use 180 shutter angel at 24p ? if I use a blackmagic cinema camera to get a similar type of motion in UK what would you recommend? apprentlly it varies in different countries too due to 50/60Hz. i have tried 180 shutter at 24p but somehow the motion is still not as cinematic. am I missing something? i also want to avoid them weird waves some lights create. thanks.
All i know is that it probably has to do with the drop frame due to regions. But Im assuming here it's got to do with the fact he's shooting actual film vs. RED or DSLR(1/48) or BM. So at that point is in the processing I assume. And I say that because back in film school is the only time i've shot on film and it was an Ariflex 435 and it looked unbelievable in comparison to just about any digital I've shot on, both, motion wise and straight up look, but I'm assuming it had to do with the processing. The look for sure.. soooo much to do with the emulsion. But the motion? again, I can only assume its in the processing, because I dont believe I did anything different than what you're talking about. But I may be wrong. Thats just what Im guessing.
The problem is the dynamic range of the camera. Cheap cameras have a very small range of steps between the brightest parts (blownout white) and the dark parts (to dark to be registered) of the image. Film has a wide dynamic range, the lights can be a lot brighter without blowing everything out.
I'm pretty sure they scan and then upload it digitally and do it that way. I know there was this whole old school technique of chemically colouring directly on film but they definitely didn't do that for this film. Also extra filters maybe??
I am a cinematographer who has worked with the 35 Mitchell and onwards to now of Arri Alexa. As soon as I heard Tarantino was going to shoot with the Panavision and there lenses I began to follow it. Then I am disappointed by the movie because most of it takes place in a closed cabin instead of out in the open where Panavision is best at! Boys toys.. what else? When you have so much money to play around....
I am just a student but I remember Tarantino saying in most of the interviews for The Hateful Eight about how most people (like yourself) think Panavision is just good for "out in the open", seven wonders of the world kind of shots and how that is not true. He said what Panavision gives you in indoors is the details that are just wonderful. And after seeing wonderful close-ups of Samuel L.Jackson in this, I have to agree.
Adding lights to the interior so that it's on the same exposure as the exterior. In this case, the the inside of the barn would be lit up so that the details on the characters standing inside were completely visible instead of being silhouettes. That would be balancing the int. for the ext. Hope this helps.
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He says color correction which is a digital technique. All the colors in The Hatful 8 were done in an analogue process called color timing using very basic tools called printer lights with which you can only effect the brightness of and the color hue in red, green, blue, yellow, magenta, and cyan over in entire image.
What an honor for Robert Richardson to use the exact same lens, and camera used in _Ben-Hur_.
Ryan Hartwell yeah man panavision really came through for them, glorious 65mm
Maybe the film is but I don't think it's the same camera
@@ionelflorea2116 It's the same lense.
The format you have used for this is maybe the best I have come across and fantastically informative. Brilliant work.
Robert Richardson and Tarintino are classic. Feel like watching a play. Best combo of cinematic universe.
Hi. Please, you don't have to make these videos shorter.
I'm learning a buttload.
Absolutely fascinating in depth breakdown. Never knew how important and prevalent colour correction is in these movies. 😍
Flags, flags, flags. Please do a video on flags. I bet you have every flag ever made in the 3D software.
Flags, no one ever talks about flags. I love flags.
???
?? I'm asking about seeing a video that discusses flags and controlling light.
Flags
You mean ... flags?
Loro .H Uhh yeah. Flags. You know blocking and controlling light. Flags! black flags and not the band, whatever u want to call them.
ermm flags r we talking about country flags! @@ 🤔 I didn't see any flags in this movie!
Thank you for these videos. I'm learning so much.
Have no idea what you're talking about 50 percent of the time and loving it. Your knowledge is inspiring
You've created a great channel ! Its very very helpful for knowing cinematography in depth ! Hats off to your work !!
I love how the indoor overhead lights are made to look like natural light streaming though holes in the ceiling by adding snow falling with the down-firing beams.
Amazing to watch this video again almost 3 years later and see how much has progressed with CineTracer!! Congrats on all of your hard work Matt!
Yes Flags... Please.. Everything else your doing is Awsome. Flags would complete everything with lighting that you are doing.. Keep up all the Great Work. Love it...
I’d like to formally request a visual breakdown like this for The Matrix and Terminator 2 (particularly night scenes such as the hospital) ! 👏
You're now my best friend for reviewing cinematography...honestly.
35:15 - I feel you buddy and pretty sure that is EXACTLY how that conversation went lol
Thanks for this. BTW, I came from a film background so still use a light meter.
Brilliant video, fantastic precise information
Love your break down here on the lighting setups, but on color, I'm almost positive qt chemically colored this film. Something to look into.
Hi I found your videos by accident a few days ago and have been watching them ever since. I'm a photographer but have shot a little video in the past. Regardless, the detail and information about lighting is truely inspiring. I have already been busy on eBay planning various DIY hacks. Keep up the great worrk. Matt UK @MrLeicaCom
Great Video! I probably cannot hope to ever work in the film industry, but I feel like I learned so much from this. Thank you!
The story behind the 70 as the camera is actually on a Hollywood reporter interview with all the Academy nomd Directors of 2015/16. QT talks about how he was at some rental house and randomly saw this gigantic lens, asked the guy what it went to and the tech was like 70mm. He said he just laughed and called Bob and was like.. This is what we're shooting on. With that said. I have no doubt the conversation you outlined has occurred in the past for sure! haha
aaaaand then i get to the end of the video.. hahaha
Thanks a lot for this breakdown!
I love you, Tarantino.
Your videos are beyond amazing mate!
i plan on doing my first film soon and it amaze me how you doing the cinematography break down is really teaching me alot also oneday can you break down cinematography oneday and talk about how important it is to filming thanks alot Great job
You need to remember those colors are chemically captured by the film. Tarantino despises everything that has to do with digital image processing.
thanks man! i love your channel, i love this stuff!
Don't worry about people. You're doing an excellent job. Art is always subjective.
That was brilliant one of your best .. love it. Thanks so much. Haha the art work :)
38:40 Couldn't help but chuckle just a little when you said one frame every 24 seconds.
Love the channel. Keep it up.
The DP is using his light meter to measure incident light - the light falling on the subject, rather than reflected light off the subject.
Tarantino is a blessing.
I quit half way from exhaustion of hearing you say I feel like every 3 minutes
Very interesting- didn’t know that much about this sort of stuff. Thanks!
There is NO COLOR CORRECTION in this movie for outside scènes!!They came from camera like this!!Quentin say this in one interview!!Also his camera operator say this
I think that the pros use light meters because there are so many people on the crew working together that he himself is not going to change the lights. He is just going to tell somebody else how to change the lights and how much and, because of that, it's just easier to take a reading on the light meter and relay that info accurately.
does Tarantino usually use 180 shutter angel at 24p ? if I use a blackmagic cinema camera to get a similar type of motion in UK what would you recommend? apprentlly it varies in different countries too due to 50/60Hz. i have tried 180 shutter at 24p but somehow the motion is still not as cinematic. am I missing something? i also want to avoid them weird waves some lights create. thanks.
what camera are you using?
Blackmail cinema camera 2.5k
All i know is that it probably has to do with the drop frame due to regions. But Im assuming here it's got to do with the fact he's shooting actual film vs. RED or DSLR(1/48) or BM. So at that point is in the processing I assume. And I say that because back in film school is the only time i've shot on film and it was an Ariflex 435 and it looked unbelievable in comparison to just about any digital I've shot on, both, motion wise and straight up look, but I'm assuming it had to do with the processing. The look for sure.. soooo much to do with the emulsion. But the motion? again, I can only assume its in the processing, because I dont believe I did anything different than what you're talking about. But I may be wrong. Thats just what Im guessing.
Batten strips and covered wagons are used by Hurlbut too.
This was great man
What are you up to now? Awesome content will be relevant for soooo long thanks
this was a fun session thanks Randall from Vancouver
Nice eye! How long have you been shooting?
Thank you. That was very nice.
Please add links in the description .. thanks.
The dude sounds (or thinks) he’s better than these cinematographers. Lol
Hi Dear,do you have any tutorial regarding Bicolour filter?
The lighting inside felt way too obvious, like at night with a blizzard and all, where are these lights coming from?? Lol
i dong understand the light bounce think, how does a camera type make it different (not counting the obvious which is quality)?
The problem is the dynamic range of the camera. Cheap cameras have a very small range of steps between the brightest parts (blownout white) and the dark parts (to dark to be registered) of the image. Film has a wide dynamic range, the lights can be a lot brighter without blowing everything out.
Thanks, Great Video!!
I want to ask how did they colour correct from using a Film Camera? I know for digital but how about film?
I'm pretty sure they scan and then upload it digitally and do it that way. I know there was this whole old school technique of chemically colouring directly on film but they definitely didn't do that for this film. Also extra filters maybe??
@@bigboyamy This film was analogically corrected on a color timing machine, old school style.
Do Battle of the Bastards from episode 9, season 6 of Game of Theones
I am a cinematographer who has worked with the 35 Mitchell and onwards to now of Arri Alexa. As soon as I heard Tarantino was going to shoot with the Panavision and there lenses I began to follow it. Then I am disappointed by the movie because most of it takes place in a closed cabin instead of out in the open where Panavision is best at! Boys toys.. what else? When you have so much money to play around....
I am just a student but I remember Tarantino saying in most of the interviews for The Hateful Eight about how most people (like yourself) think Panavision is just good for "out in the open", seven wonders of the world kind of shots and how that is not true. He said what Panavision gives you in indoors is the details that are just wonderful. And after seeing wonderful close-ups of Samuel L.Jackson in this, I have to agree.
Navroze contractor You are wrong in this.
I think you are wrong about that set being on a stage.
what's the "panaglow" ? (last photography of the camera)
It's an LED device that illuminates the frame lines in the viewfinder. Very useful in dark scenes.
What does "balance the exposure" mean?
Adding lights to the interior so that it's on the same exposure as the exterior. In this case, the the inside of the barn would be lit up so that the details on the characters standing inside were completely visible instead of being silhouettes. That would be balancing the int. for the ext.
Hope this helps.
Omg shut up at the end bruh. His movies has nothing to do with politics in our day in age.
Why dont you make content anymore?
You know this is shot on film
And the cranes are all the same !!
Tarantino fans like here
It´s a bit like a kind of...
i'd pay for that course
Fckn Rob not Bob!!
Turned off when you said “pan down”
Maybe he just misspoke it. I'm sure such things never happen to yourself.
I forgot his name because this movie sucked.
Nice to look at...but the movie was lame...script...dialogue was shit
Slow down a little bit, man...