"Club Penton" - Ask questions to Hollywood insider "Penton-Man"

[worth]

Originally Posted by Doctorossi

Well, you may not get it, but I would definitely argue that absolutely the same can be said for 3D. Watch Coraline in 3D- I think the impact on storytelling is quite evident.

I've seen Coraline in 3D and have to disagree. And here's the crux of the problem - all 3D movies have to be shot in such a way that they work equally well in 2D.

Film language has evolved the way it has because the screen is flat. To really make 3D work would require a completely new and different form of visual storytelling. But that can't happen because there are so many varied outlets for movies now. It's impossible to make something that's uniquely suited to a big screen 3D experience when it also has to work while being watched on an iPhone.

[Doctorossi]

Originally Posted by worth

And here's the crux of the problem - all 3D movies have to be shot in such a way that they work equally well in 2D.

No, they have to be shot in such a way that they work in 2D, not work equally well. I'm sorry if you think 3D has no story value and contains no substantive information, but I think you're simply missing or failing to understand it.

Should we not bother making color movies because some potential audience members may be color-blind?

[Penton-Man]

Originally Posted by Steedeel

I wonder if the announcement about glasses free 3d in five years could actually do more harm than good. Who is going to take the plunge now when a new tech will come out that would make current 3d tv obsolete?...

I think many Joe Public purchase a new TV when they are in need of a new TV (for example, one of their current sets bites the dust, they give one of their TVs away to their son/daughter to use at college, they add one to another room in the house which previously didn’t have a TV to begin with, etc.).

And the ‘plunge’ in the future may not be as great as you think….
http://www.mediapost.com/publication...art_aid=153570

[Penton-Man]

Originally Posted by Doctorossi

No, they have to be shot in such a way that they work in 2D, not work equally well.

Well said.

[Penton-Man]

Originally Posted by Doctorossi

It's the only way to fly.

In 1976, Das Boot (which is based on the book about the life experiences from the point of view of the German crew on the U-boat U-96 in the Atlantic in 1941) was initially planned as a feature film with U.S. participation. Robert Redford was to be cast in the role of the U-boat commander.

Ultimately, unexpected differences between several screenwriters and the author of the book, Lothar Gunther Buchheim, caused the project to implode. Then in 1979, Bavaria Studios picked up and carried the torch.

[Doctorossi]

Originally Posted by Penton-Man

Ultimately, unexpected differences between several screenwriters and the author of the book, Lothar Gunther Buchheim, caused the project to implode.

Thank god.

Originally Posted by Penton-Man

Then in 1979, Bavaria Studios picked up and carried the torch.

Thank god, again.

[Penton-Man]

Originally Posted by rickah88

Oh boy...I can see it now: LOTR FotR debate ignites all over.

I can assure you that the *blanket tint* identified in some scenes of Das Boot were Director approved.

You see, the interior lighting was original to the time and had specialized functions subservient to the needs of the sub. Blue was the light utilized for electrical failures and red was the light for general alarm and the night light when the tower was occupied.

As an aside, to cinematographers, the most famous shot in the whole motion picture was the camera move in which there is a continuous run through all five compartments of the sub (including the airlock doors) without a single stinkin cut! This led to much speculation in the cinematographic community at the time as to ‘how dey do dat?’ Guesses ranged from the camera was handed from person to person, compartment to compartment…the camera was mounted to overhead cable runs…the camera was mounted on retractable rails, etc.

The nose knows.
Film stock of record – Fuji 8517/8518 - which was selected for its subtle contrasts and colors, thought to aid in a more documentary ‘look’ to the motion picture.

P.S.
b.t.w., for those storm scenes, no CG there folks . A 40ft., 1:6 scale model of the sub was built which was fully sea-worthy and the storm scenes were filmed in actual conditions with wave heights up to 15 feet and a camera placed in an underwater housing mounted on the deck of the vessel.

[Doctorossi]

Originally Posted by Penton-Man

I can assure you that the *blanket tint* identified in some scenes of Das Boot were Director approved.

You see, the interior lighting was original to the time and had specialized functions subservient to the needs of the sub. Blue was the light utilized for electrical failures and red was the light for general alarm and the night light when the tower was occupied.

As an aside, to cinematographers, the most famous shot in the whole motion picture was the camera move in which there is a continuous run through all five compartments of the sub (including the airlock doors) without a single stinkin cut! This led to much speculation in the cinematographic community at the time as to ‘how dey do dat?’ Guesses ranged from the camera was handed from person to person, compartment to compartment…the camera was mounted to overhead cable runs…the camera was mounted on retractable rails, etc.

The nose knows.
Film stock of record – Fuji 8517/8518 - which was selected for its subtle contrasts and colors, thought to aid in a more documentary ‘look’ to the motion picture.

P.S.
b.t.w., for those storm scenes, no CG there folks . A 40ft., 1:6 scale model of the sub was built which was fully sea-worthy and the storm scenes were filmed in actual conditions with wave heights up to 15 feet and a camera placed in an underwater housing mounted on the deck of the vessel.

Oh, and also...

It's an incredible movie and everyone should get some taste and buy it!



Just sayin'.

[Dennis M]

Originally Posted by Penton-Man

P.S.
b.t.w., for those storm scenes, no CG there folks . A 40ft., 1:6 scale model of the sub was built which was fully sea-worthy and the storm scenes were filmed in actual conditions with wave heights up to 15 feet and a camera placed in an underwater housing mounted on the deck of the vessel.

That is impressive. I can't even begin to comprehend the logistics of filming under such conditions.

This has to be one of my favorite movies. The drama of seeing these men trying survive is so powerful. Watched it so many times I've lost count.

Anybody will be watching it for the first time, I will suggest you view it in German with English sub-titles.

[Dennis M]

Originally Posted by Doctorossi

Thank god.



Thank god, again.

[sharkshark]

Originally Posted by Penton-Man

Guesses ranged from the camera was handed from person to person, compartment to compartment…the camera was mounted to overhead cable runs…the camera was mounted on retractable rails, etc.

Handheld Ari with gyros, no?

I might have mentioned this before, but a testament to the power of this flick is that after seeing it, the next visit I made to a ship I'd seen many, many times over the years (the HMCS Hilda parked on the Toronto Waterfront - http://en.wikipedia.org/wiki/HMCS_Haida_%28G63%29), I had a pavlovian, visceral reaction to this benign, "good guy" boat. It's a film that gives you a mild form PTSD, as any good marine film (JAWS!) should...

[Farid]

So, Mr. Penton... Can I expect to have the most desired Blu-ray of them all in my hands, by this time next year? I am of course talking about the one and only Lawrence of Arabia.

[Dennis M]

Farid, Penton is looking to see if the sand will need a bit of green tint in it first.

Added: Sorry, I couldn't help myself.

[Doctorossi]

Originally Posted by Dennis M

This has to be one of my favorite movies.

It's in my top 20.

Originally Posted by Dennis M

Anybody will be watching it for the first time, I will suggest you view it in German with English sub-titles.

I'll second that and also recommend the Director's Cut.

[HeavyHitter]

Penton,

I just ran across your post about how Blu-ray is capable of a larger capacity if needed at some point (for longer content, etc.). Does Blu-ray have any potential to be expanded into a 4K format years down the road?

[Dennis M]

Originally Posted by Doctorossi

I'll second that and also recommend the Director's Cut.

Absolutely, the theatrical cut lacks the continuity of the Directors Cut.


ALARM!!!!!!!!!!!!!!!!!!!!!!!!!!


Oh here's another little tidbit of info. The U-boat seen in this film and in Raiders of the lost Ark, you got it, one and the same.

[Penton-Man]

Originally Posted by sharkshark

Handheld Ari with gyros, no?...

and running like hell with the camera!

I’m impressed shark, as I don't think many folks know that . No wonder you're a bigtime reviewer for the Toronto Internation Film Festival. Yes , Arnold and Richter (the manufacturers of Arriflex cameras) built a brand new camera for Das Boot of which proved to be an elegant hand-held solution for the time. That camera, combined with a uniques gyro-stabilized attachment, allowed Jost Vacano, BVK, to make it all happen. B.T.W., at that time in filmmaking, at least in Germany, most all cinematographers operated their own cameras (i.e. were also the ‘camera operator’).

After more than 2 months of shooting, he became quite adept at maneuvering within the confines of the sub, first trying the maneuver by running attempts just through one air lock for capturing other prior scenes to test if it was even doable. Ultimately, they went for a continuous run through all the compartments of the boat for that now famous scene and Jost narrowly cleared the obstacles along the way by sheer millimeters sometimes……and other times along the hazardous course, he scraped things and got his share of abrasions and contusions.

Bottom line, nobody on the set ever thought that it would possible for one man with a hand-held camera to race through that confined area and go the full 200? foot length of the interior of the sub. Rack that shot up to concentration, instinct, balance…and desire.

[Penton-Man]

Originally Posted by Farid

So, Mr. Penton... Can I expect to have the most desired Blu-ray of them all in my hands, by this time next year? I am of course talking about the one and only Lawrence of Arabia.

All I’m at liberty to say is that a Blu-ray commiserating the 50th Anniversary of 'Lawrence' will “eventually” happen….as I think I alluded to here, with a pic as a visual aid…

https://forum.blu-ray.com/4132465-post16384.html

The exact street date will be somewhat based upon the possible presence of any other likewise ‘high-profile’ offerings from competitors.

[Penton-Man]

Originally Posted by Dennis M

Farid, Penton is looking to see if the sand will need a bit of green tint in it first.

Added: Sorry, I couldn't help myself.

Hmm. Let me see how diplomatically I can put it. One moment.

[Farid]

1962. 2012. Gotcha