Following (1998) - Nolan’s first feature film was shot in black and white. The budget was so low that it didn’t allow them to build custom sets, instead they had to film on already available public locations. Which meant they didn’t have the control over the color palette of the locations and set design. For that reason he chose to shoot with black and white 16mm film. With this decision he tackled the other 2 problems that arose because of the low budget. 1) 16mm film was cheaper than shooting in 35mm color. 2) It eliminated the need to balance the color temperature of the lights. With this he eliminated the variable of color temperature and only had to focus on lighting with contrast. Memento (2000) - With a slightly larger budget, Memento plays with color more purposefully. Nolan uses both color and black-and-white sequences to represent different timelines. The black-and-white sequences depict Leonard’s "present" reality, while the color sequences represent fragmented memories. This contrast helps disorient viewers, mirroring the protagonist’s own unreliable memory, using color (or its absence) as a tool for narrative structure and emotional weight. Inception (2010) -The bigger budget allows Nolan to craft visually complex sets, where color plays a significant role in differentiating various dream layers and emotional tones. The differences between each dream level's color palette help viewers distinguish where characters are as they move between layers. Here, Nolan uses color not only to separate layers of the narrative but to reflect emotional depth and the dream-like quality of the film.
Glaydyator.And then the AI voice sponsor was plugged. Double LOL. It's very crap. This is why we have less to worry about AI that you think. Unless you're a journalist. But nobody cares about those losers.
I think this "camera as a data collection device" perspective is what drives David Fincher (not the first category of directors). Because "analog" things (what we used to call just "things") have their unique qualities and these qualities take part in each step of the process. When viewing from a data/digital perspective, these qualities become noises, imperfections, "effects". As a director, you used to have to decide which part of the visual (and audio) are important while these qualities exist, for better or worse. Now when you can eliminate nearly all of these and "add them back in the post", you just eliminate a source of reality. In other words, the David Fincher perspective is more like an animator's perspective.
Holy crap I watched like 5 min of this movie and got bored but after seeing the bald Andrew Tate teacher go nuts, I gotta watch the whole thing now. Also, the movie looks like a cheap family tv show without the yellow color grading
Right off the bat, the cymbals, the brass instruments and even the chrome hardware (stands, nuts, drum hoops) on the drum set _really_ pop in the original.
Instead of film, they use cheap looking digital. Also, CGI galore, OTT color grading with the teal and yellow, and even teal and yellow set dressing and costumes. Most movies today look boring and bland, and don't look cinematic anymore. Boring lighting too.
“To evoke the feel of Ancient Sparta ….” (colour grade of “300” movie) - yeah - well - were any of us around 2, 300 years, approx., years ago to know what the “feel” of Ancient Sparta would look like 😅 ???
They are looking at the scopes too much rather than what looks good. If you look at the film the highlights are blown out in the shadows are crushed. Who cares it looks amazing and dramatic.
NOBODY really cares about a movies visual style anymore. They don't care while shooting and they care even less during post. They just color change the same flat "LOG" image they get from shooting, cropping it to this god awful modern "TV Show" Aspect Ratio that is 2,20:1 or something like and makes absolutely no sense... and they just browse through their NLE grading presets and stick with that. Everything looks boring, flat and sterile. They don't even bother properly lighting a scene. It's crazy... In the early 2000s and 2010s, when they still shot a lot on film, which has incredible dynamic range and doesn't suffer from digital "clipping" in the highlights, they used to colorgrade everything in a way to make things look cold and digital and boosting the contrast or just making everything look like going through a Bleached Bypass treatment. For "Terminator Salvation"they even actually treated the ACTUAL filmstock and didn't do it digitally. Nowdays with digital Cinecamera sensors having a pretty good dynamic range too, they seem to do everything to keep all that and avoiding contrasts at all costs. Everything looks the same... this new age of flatness it just as boring as the constant over-use of "Teal and Orange".
i’ve never seen this movie but i kinda know about it and watching this while he’s all nice and supportive knowing that he loses it is giving me wicked anxiety lmao
