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Old 07-23-2016, 03:57 AM   #5001
Bobbyjoe766 Bobbyjoe766 is offline
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Originally Posted by JohnCarpenterFan View Post
The scene near the beginning with Brody and the young man walking on the beach was the one that struck me as being the worst.
The shot of Hendricks dropping to the sand dune,wiping saliva away from his mouth after discovering Chrissie's remains,looks strange;like the warm colour temperature was turned up too high?
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Old 07-23-2016, 04:01 AM   #5002
JohnCarpenterFan JohnCarpenterFan is offline
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Originally Posted by Bobbyjoe766 View Post
The shot of Hendricks dropping to the sand dune,wiping saliva away from his mouth after discovering Chrissie's remains,looks strange;like the warm colour temperature was turned up too high?
The color is a bit different from how it looked originally. Not a huge difference but it can be noticeable. I believe Universal said there was inconsistencies with the reference prints so I think they just decided to replicate the look of the 30th anniversary DVD.
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Old 07-23-2016, 05:19 AM   #5003
Bobbyjoe766 Bobbyjoe766 is offline
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Originally Posted by JohnCarpenterFan View Post
The color is a bit different from how it looked originally. Not a huge difference but it can be noticeable. I believe Universal said there was inconsistencies with the reference prints so I think they just decided to replicate the look of the 30th anniversary DVD.
That same shot of Hendricks on the 30th anniversary DVD looks normal compared to the Blu-Ray equivalent.
Something else that bothered me about this restoration.Spielberg's stance on not digitally tampering with his films.Why is the wire/fishing line that was originally attached to the bouy during Chrissie's attack still missing?
This 'restoration' should have included a lossless version of the original mono audio too.
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Old 07-23-2016, 01:34 PM   #5004
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Originally Posted by Bobbyjoe766 View Post
That same shot of Hendricks on the 30th anniversary DVD looks normal compared to the Blu-Ray equivalent.
Something else that bothered me about this restoration.Spielberg's stance on not digitally tampering with his films.Why is the wire/fishing line that was originally attached to the bouy during Chrissie's attack still missing?
This 'restoration' should have included a lossless version of the original mono audio too.
I mentioned the wire a few pages back. A sailboat on the horizon later in the film was also removed. Spielberg mentioned in 2011 there would be no more alterations to his films even going as far to say he would not remove the wires from 1941. So it is a bit strange these minor tweaks were done. Granted theyre not big changes and arent distracting but it does strike me as puzzling considering what Spielberg said.
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Old 07-23-2016, 08:02 PM   #5005
Geoff D Geoff D is offline
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Quote:
Originally Posted by Bobbyjoe766 View Post
The shot of Hendricks dropping to the sand dune,wiping saliva away from his mouth after discovering Chrissie's remains,looks strange;like the warm colour temperature was turned up too high?
That shot looks like a dupe or an optical to me, that can have the effect of sending the colour a little screwy.
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Old 07-23-2016, 09:08 PM   #5006
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Oh, just remembered, I wanna say that I adored Bill Butler's classic three-point compositions in this flick. Yeah, people still shoot in anamorphic these days but it's just not the same, it's as if framing for widescreen has become a lost art. I blame that Super 35!
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Old 07-23-2016, 09:49 PM   #5007
Bobbyjoe766 Bobbyjoe766 is offline
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Originally Posted by Geoff D View Post
Oh, just remembered, I wanna say that I adored Bill Butler's classic three-point compositions in this flick. Yeah, people still shoot in anamorphic these days but it's just not the same, it's as if framing for widescreen has become a lost art. I blame that Super 35!
What impressed me were the long unbroken camera takes with dialogue for the actors.For example:Brody,the Mayor,coroner and Meadows on the ferry.I imagine every time an actor would flub their lines they would have to turn back the ferry and start the shot again from when the Mayor's Cadillac boarded.The filming of that scene must have been frustrating.The film was very well rehearsed.Thank god that shark didn't work and Spielberg and his actors had more time to work on their dialogue and scenes.
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Old 07-24-2016, 01:30 AM   #5008
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Quote:
Originally Posted by Geoff D View Post
Oh, just remembered, I wanna say that I adored Bill Butler's classic three-point compositions in this flick. Yeah, people still shoot in anamorphic these days but it's just not the same, it's as if framing for widescreen has become a lost art. I blame that Super 35!
Nailed it!

I have also noticed since the use of Super35 became more widespread, the 'scope compositions in films steadily became less and less interesting and/or artful.

With so many theaters no longer masking the screens for 'scope presentations (thusly cutting down the size and resolution), I wonder why so many movies are still released in 2.39:1 at all.
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Old 07-24-2016, 05:15 PM   #5009
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Heh, good point about the lack of 'scope masking in the average modern multiplex (my last two nearest ones didn't/don't bother), now you even get black bars in cinema presentations. It's no wonder Tarantino essentially thinks of modern theatrical projection as being a "TV" level experience.
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Old 08-07-2016, 05:47 PM   #5010
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Originally Posted by Geoff D View Post
Oh, just remembered, I wanna say that I adored Bill Butler's classic three-point compositions in this flick.
I don't want to sound pedantic, but that would be Spielberg's compositions (the DP is in charge of the lighting, not the compositions).
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Old 08-07-2016, 06:01 PM   #5011
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Right, right, a DP has no say over the framing whatsoever. Gotcha.
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Old 08-07-2016, 06:14 PM   #5012
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Quote:
Originally Posted by Nicolawicz View Post
I don't want to sound pedantic, but that would be Spielberg's compositions (the DP is in charge of the lighting, not the compositions).
I'm a DP. We absolutely compose the frame, in collaboration with the director and camera operator (if camera op is separate from DP, which is most often the case). Bill Butler is particularly talented at "fitting a lot into the 2.35:1 frame", as evidenced by JAWS and even GREASE.

I think you may be thinking of the "blocking of actors", which is mainly the director's realm and does hugely effect composition. But even in this arena, the DP also has collaborative input, particularly if it will help bring an actor into a good foreground position or into the light.
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Old 08-07-2016, 06:18 PM   #5013
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I'm a director. The way I do it, I compose the shot and the DP just lights it.
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Old 08-07-2016, 06:21 PM   #5014
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I'm a director. The way I do it, I compose the shot and the DP just lights it.
Remind me not to work with you.
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Old 08-07-2016, 09:09 PM   #5015
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Hahahahaha
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Old 08-07-2016, 09:41 PM   #5016
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Old 08-09-2016, 07:46 AM   #5017
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Funny how so many don't realize that it's mostly through the framing that you can recognize a director's style.
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Old 08-09-2016, 01:21 PM   #5018
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Well, there are directors like Roman Polanski who are very hands on and compose their own shots.

From the book "Roman Polanski: A Retrospective":

Quote:
Composing shots himself was something Polanski felt strongly about -- and still does. When I suggested that some directors leave that part of the job to their cinematographer, Polanski answered drily, "Yeah, they certainly do, but I don't."
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Old 08-09-2016, 02:39 PM   #5019
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Originally Posted by spanky87 View Post
Well, there are directors like Roman Polanski who are very hands on and compose their own shots.
Ugh. Polanski. We know how "hands on" he likes to be.
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Old 08-09-2016, 04:11 PM   #5020
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Directors often involve themselves in the framing of films and how they are shot. That doesn't mean a DP isn't a huge part of that process. Not everyone is as hands on as a director but many are. I would think Spielberg is given his style of filmmaking.
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