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post #91 of 135 Old 08-20-2013, 06:20 AM
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I'm glad it worked out for the ones having problems. I'm not familiar with BD-Live, is it a cloud based service to store BD's?
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post #92 of 135 Old 08-20-2013, 07:06 AM
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Originally Posted by comfynumb View Post

I'm glad it worked out for the ones having problems. I'm not familiar with BD-Live, is it a cloud based service to store BD's?
No it's a service so the mothership can monitor your viewing activity.
Well, it downloads new trailers to if you're in to that.

I would leave BD Live off as it seems to cause issues with some discs.
Also disable/unplug any Internet connections because even with BD Live off, the player still tries to connect to the mothership and send/retrieve info when a disc is started, which slows down disc loading.

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post #93 of 135 Old 08-20-2013, 07:09 AM
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No it's a service so the mothership can monitor your viewing activity.
Well, it downloads new trailers to if you're in to that.

I would leave BD Live off as it seems to cause issues with some discs.
Also disable/unplug any Internet connections because even with BD Live off, the player still tries to connect to the mothership and send/retrieve info when a disc is started, which slows down disc loading.



Ok gotcha thanks. I won't even bother with this as I think we have enough online monitoring going on, especially if it slows things down.
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post #94 of 135 Old 09-05-2013, 02:44 PM
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I really wanted to like it, but I was disappointed with this one. Though I did enjoy the reveals at the end, they came too late for me to make-up for the previous hour and 40 minutes. What I liked:

Warning: Spoiler! (Click to show)
Finding out that Jack and Vika were commanders on the original mission to Tet, and that our hero(s) number 49 and 52 and of course their Vikas also were clones, not to mention that even Sally was made-up from the original NASA mission specialist. Nice surprises. I liked too that Julia was an "original" from the initial mission.

But I didn't care about the stragglers (the scavs I mean), nor certainly could I ever buy that Tet would let-in a vehicle with a nuke on board.

But I didn't care about a single one of the characters. On the other hand, in the little indie film Safety Not Guaranteed I watched a couple weeks ago, I cared about ALL the characters! Best movie I've seen this year probably.
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post #95 of 135 Old 09-10-2013, 10:42 PM
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T Cruise is still the best actor living today in terms of consistent entertaining movies of various genres but count me in as one who didn't find this all that great. 1st of all, everything was just ho-hum and felt like a mish mash derivative of previous Sci-Fi movies like I am Legend and even the Host, and of course Wall-E. I mean, was that total rip off or what? Those drones looked and behaved like Eva in Wall-E.

2nd, the pacing was on the slow brew side and kinda like playing solitaire. Some may disagree but this no way can come close to Prometheus and I thought the cheesy dumb Elysium was slightly more entertaining. This movie, just like Tron has this bleek, cold feel to it that I just don't care for. And I really didn't care of any of the characters either.

I don't think Cruise can make a bad film these days even if he wanted to but some like this one will just be "ok". I think his next Sci-Fi one with a more proven director Doug Liman will me more what I'm looking for. But you know at least every Cruise film will be a big budget, quality production that you can bet your ass.
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post #96 of 135 Old 09-10-2013, 10:58 PM
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T Cruise is still the best actor living today in terms of consistent entertaining movies of various genres but count me in as one who didn't find this all that great. 1st of all, everything was just ho-hum and felt like a mish mash derivative of previous Sci-Fi movies like I am Legend and even the Host, and of course Wall-E. I mean, was that total rip off or what? Those drones looked and behaved like Eva in Wall-E. 2nd, the pacing was on the slow brew side and kinda like playing solitaire. Some may disagree but this no way can come close to Prometheus and I thought the cheesy dumb Elysium was slightly more entertaining. This movie, just like Tron has this bleek, cold feel to it that I just don't care for. And I really didn't care of any of the characters either. I don't think Cruise can make a bad film these days even if he wanted to but some like this one will just be "ok". I think his next Sci-Fi one with a more proven director Doug Liman will me more what I'm looking for. But you know at least every Cruise film will be a big budget, quality production that you can bet your ass.

Your first sentence eliminates any street cred. Cruise can't hold a candle to a dozen actors. Been living off that goofy smile for years. Christian bale makes him look like.a.puppy . Ryan gosling , liev schreiber , Daniel Craig , jason statham , daniel day Lewis , Colin farrel , sam Worthington , adrain brody , and many more. You are right about a big production.

Last years jack reacher was a disgrace to the book and poor.
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post #97 of 135 Old 09-11-2013, 01:35 AM
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I've read a LOT of books, and while I didn't read Jack Reacher, I really liked the movie.

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post #98 of 135 Old 09-11-2013, 04:10 AM - Thread Starter
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Your first sentence eliminates any street cred.

Really? Next time please read the sentence in full then.
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post #99 of 135 Old 09-11-2013, 06:00 AM
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Reacher and Oblivion added to my collection. At least they are watchable with little use of handheld and/or shaky camera use. Also have Legend, Top Gun and MI: Ghost Protocol on BD

As always, I recommend renting and viewing ANY movie to make a determination to see if you like it or not.

I remember a Siskle and Ebert review calling Legend one of the worst movies they had ever reviewed. They may be right but I like it (the Tangerine Dream version).


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post #100 of 135 Old 09-11-2013, 01:14 PM
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I like Tom Cruise well enough, am not in love with him or anything but will watch & usually enjoy any of his movies. I can always get my wife to watch him (though she thought Oblivion was blah as did I) which is a plus when I want to watch something like Ghost Protocol which she watched & liked too I think.

As for Oblivion, I watched all the extras yesterday and I think I enjoyed them more than the feature! I will want to watch the feature again if only to better appreciate all the stuff they did "for real", like the motorcycle jump that Cruise actually did (wow he crashed it in one of the outtakes on the featurettes and if I'd been a producer on-set I might have had a heart attack!).

You have to admit he's ripped, & has balls, for a little guy (and 50-something years old).
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post #101 of 135 Old 09-15-2013, 05:58 AM
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Did anyone find the quieter dialogue difficult to hear and needed to turn up the volume just to hear it (then turn it back down as this made the movie way too loud otherwise)?
I dont have this problem with all movies, but this was seemed bad.

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post #102 of 135 Old 09-15-2013, 06:05 AM
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Did anyone find the quieter dialogue difficult to hear and needed to turn up the volume just to hear it (then turn it back down as this made the movie way too loud otherwise)?
I dont have this problem with all movies, but this was seemed bad.



Hi, maybe a little yes. But the clarity and level of the dialogue vary from movie to movie so I just go in and bump the center channel level up if need be, I also do this with the surrounds occasionally.
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post #103 of 135 Old 09-16-2013, 01:19 PM
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Well...opinions are all over the map on this one! smile.gif I am always fascinated by the wide range of factors that people use to judge any given film (in the cinema or at home). I can't play in this arena because I'm skewed to an etirely different set of criteria and influences coming from the feature and TV world. When one gets hired to do a movie, you often are chosen for a particular skill set that fits that movie or genre. For a long time, mine was the big budget action and disaster genre. You kind of have to be fairly tolerant of subject matter, and frankly, to do a really good job, you have to become somewhat invested with the project. My point being, you kind of do your best even if the vehicle is not your cup of tea.

As you might imagine, I am extremely attentive to cinematography and other production values. I am also very aware of the operations and logistics behind a show, and find that this can influence my impression of a film when I see it. For this reason, there are some titles where I will watch the extras on making the film very closely. These things are blessing and poison. But they are part of my unique set of values on the entertainment.

Sure, there are some flicks that I just can't get through; the wifey's weepy chick flicks, for instance biggrin.gif But a decent drama that is character-driven, even a bit romantic, and set in a rather fantastic circumstance will sometimes get my attention. If it happens to trip my movie-making induced criteria, I'll really sit up, take note, and enjoy. I found Oblivion this kind of movie.

I didn't see it in theaters, and saw it for the first time this weekend via my CIH front projection system. I am glad that I had heard less than stellar commentary on this movie, because I went in with lowered expectaions. I was very pleasantly surprised to really enjoy this movie. I'll let you guys be the hardcore critics of the story and structure, but I found that the filmmakers' craft supported the story and performances remarkably and in ways that maybe I am more sensitive to. I agree that it may be one of the most impressive A/V experiences I've had in a long time. By the end of the movie, I realized that I had not for a second considered the sound mix. I was so immersed in the experience that evaluating details of the sound mix never came to me, and I don't ever remember that happening. The next day, I put it up on a flat panel to view a scene or two and watch the extras. I was shocked to find that the impression/experience was entirely different from what it was on the big screen. This is not uncommon for me, except for the scale of the difference in the case of Oblivion. For your amusement, I'd like to point out a couple of things about this. If you're not interested in filmmaking/ the cinema crafts, then you're welcomed to bail now. wink.gif

This film is clearly designed for the big screen from the close ups of actors to the wide effects shots. We normally associate that with composition and scale, but in this case, I connect this to depth of detail. The resolving power of the F65 camera and lenses used delivered an astounding level of detail. The photography used this capability in several ways to enhance performances and emotional impact. This is noticed most easily on close ups of actors. It is typical to use shallow depth of field to isolate the eyes of an actor. This film had the most amazing eyes in close ups I've ever seen, and I've been around the block on that a few times. These were particularly noticable and effective on the many close ups of ViKa and Cruise. Many of these had a depth of field about an inch or less. In film optics, this usually still results in the area that is in focus not being dead sharp because there are not hard places upstage and downstage that are in focus; it kind of has soft transitions. So, you can easily still have even less in hard focus than you want. The close ups in Oblivion are dead sharp as if they steeply fall out of focus at the edges of the range. For instance, look at one of the close ups carefully. One of Cruise as he is speaking to Sally for the first time (late in the film) is a great example. His temples and most of his nose are significantly out of focus, but his eyes are dead sharp. That's just amazing. It is also an amazing job of focus following by the camera assistant.

The same is true of many of Vika's close ups when she is working at that control console. It is also very easy to see something else about her eyes. Notice that her pupils are virtually completely dilated, yet the scene does not appear dark. Technically, that tells you that they were shooting under very low light levels. They were shooting at a T1.4/2 split...and the camera sensitivity is 800ASA. This happened to be the optimum exposure for the front projected sky background screen on the tower set. By the way, many of these details just cannot be seen on the small screen. You must have a quality big screen system to reveal these details., and there they leap at you.

Why is that a big deal? What is the advatage to being able to do that? It matters because, like the old saying, "the eyes are the windows to the soul." The eyes remaining so insanely sharp when everything else is just too soft to hold your attention means first that your attention is going to be drawn to them and, second, you can see so "deeply" into them. This has the potential to be a powerful tool when emotion in the performance is high. I can see in this thread that many of you are not sensitive to this "manipulation," but some of you are. As filmmakers we just have to try to all the tools in the box, and hope that most stick.

I highly recommend that you guys watch the four-part making-of extras. I was very impressed with everything I saw there. It is in these extras where you learn a lot about the heart of a production, not just the technical factors. Director Kosinski strikes me as a fellow that has a lot of potential. I'm used to hearing and watching directors talk and work all day. Even the biggest in the biz can be a huge pain in the ass...all day. But this guy really impressed me. But it's really fun on the extras to see all the extraodinary undertakings to make the movie. I'll not spoil too much, but it's really cool how they made this movie. Man, this would have been a great adventure to work on! I've retired to smaller gigs these days, but that one is THE one this year that I would love to have done.

I also have a different perspective on actors. Some are real pros, some so intense they are high maintenance, and some are jerks who want to phone it in. Say what you want about Cruise, but he dives into productions fearlessly. I watched a second time to hear the running commentary by Kosinski and Cruise. He really invests heart and soul in his roles and...ususally delivers. He really enjoyed this movie.

On a final note, I can judge one other aspect of the film rather uniquely. I also was an Air Guard fighter pilot, and therefore pay close attention to the physics of how imaginary aircraft fly. 99% of the time, there are glaring mistakes in how the CGI animators make an aircraft perform. Given the bubblecraft had incredible capabilities, it still must adhere to physics. I found nothing glaringly wrong about the flying sequences in Oblivion. Occasionally, I see a craft do something and naturally remember/know what effect that had in the cockpit. There are times when the bubblecraft zooms up out of a canyon and levels off abruptly to level flight at the rim. That would be quite the negative G experience in the cockpit! biggrin.gif That is why aircraft in that situation role inverted and pull positive Gs to return to level flight. But that is an observation rather than criticism. What I noticed that was very unique in the cockpit shots of the bubblecraft during high manuevering was that real forces are being exerted on the actors. Their weight in seats changed dramatically, straps suddently floated, and the reactions on the actors' faces indicated little acting was going on. Their performance was clearly influenced by the forces on them. Very realistic...for a movie. See the making-of extras to see how they did it.

Okay, I'm typed out and I've bored you enough. Cheers to all. smile.gif
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post #104 of 135 Old 09-16-2013, 01:25 PM
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At least they are watchable with little use of handheld and/or shaky camera use.

That's a great observation. I loved that they only used handheld when the story situation dictated (notably the drone interior battle). Even then, it's never the chaotic epilleptic camera operator technique. biggrin.gif Handheld camera used to make a statement, but it's so overused now that it's like typing in caps or yelling all the time; it no longer makes a statement. There is still lots of movement via dolly, crane, and steadicam, but it's solid work!
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post #105 of 135 Old 09-16-2013, 03:06 PM
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That's a great observation. I loved that they only used handheld when the story situation dictated (notably the drone interior battle). Even then, it's never the chaotic epilleptic camera operator technique. biggrin.gif Handheld camera used to make a statement, but it's so overused now that it's like typing in caps or yelling all the time; it no longer makes a statement. There is still lots of movement via dolly, crane, and steadicam, but it's solid work!

Well said, Cam Man. Always a pleasure to see you drop by.

Definitely something I never thought about or appreciated but yes, it was nice that there were PLENTY of very steady and locked down cameras used. I could actually see what was going on! tongue.gif
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post #106 of 135 Old 09-16-2013, 03:28 PM
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That's a great observation. I loved that they only used handheld when the story situation dictated (notably the drone interior battle). Even then, it's never the chaotic epilleptic camera operator technique. biggrin.gif Handheld camera used to make a statement, but it's so overused now that it's like typing in caps or yelling all the time; it no longer makes a statement. There is still lots of movement via dolly, crane, and steadicam, but it's solid work!

First, thanks for that great read with the insights into Oblivion. I've watched bits of it so far (on my big screen biggrin.gif) and it looks stunning, but I'm waiting for my sci-fi buddy to watch it with me. I did notice the amazing shallow depth of field and sharpness of the close ups.

But since we're talking about shaky-cam for a moment...

It truly got out of hand...when was it...late 90's in through the 2000's or so?....when it seemed every damned movie, every dramatic TV show, and every TV commercial looking for veritae, used that hand-held look.
I worked on one TV series a while back where they used it continually, so much so I was thinking 'how am I going to get through this whole season, watching this all day long?' Luckily for me they had viewers complaining about it, so they calmed the camera down for most of the season.

Anyway, what's most annoying is when I actually pay attention to the movement of the camera when this style is used. It's then that the utterly pointless movement sticks out so much: it's not like the camera looks truly documentary like, as if the subject is moving or the camera is rushing in to capture a moment. It just looks like a sort of pointless drifting, nudging and circling motions of the camera, utterly unmotivated. Drives me nuts!

So my question is: Is that "hand-held" or "docu-style" or whatever (does it have a name?) style of shooting specifically taught to up and coming cinematographers when learning their tools of the trade? Is there a sort of "this is how ya do it" lesson and most learn the same way of achieving that movement, or does everytime have to pick it up themselves and use his/her own style of handy-camming it?

Thanks,
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post #107 of 135 Old 09-16-2013, 06:57 PM
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Hey guys. Thank you for the kind words. Rich, how is your theater? I remember the photos and a good bit of chat about it in the past.

You mentioned that you're waiting to screen Oblivion until your sci-fi fan friend can join you. One important thing to remember about Oblivion that it is not a sci-fi action movie. It is a sci-fi drama with action. A big difference...and I like it that way. The "sci-fi" merely becomes an interesting setting and framework....permitting the characters and relationships to stand out.

Rich, that's a great description of that operating technique in long form. But you have a bit of a trained eye like me. wink.gif I don't know of a term for it used within the industry, but I loath it as much as you. That said, in the later 90s during my heyday in the action/disaster genre, I was hired more for the unique quality of how I could shake the camera than how steady I was with it. biggrin.gif I remember DP Andrzej Bartkowiak yelling across the set to the "guest" opeartors on Dante's Peak "Shake the camera like Randy!" lol On Twister, director Jan DeBont wouldn't let us use the wheels (geared head) because we couldn't then shake the camera the way he wanted. Ha!

The floating, nudging technique you describe does look organic, but it is so unnecessary. It also becomes insidious; we tend to start accepting it as the norm. I have a theory that this technique is part of what I call the dumbing down or lowering of the bar in cinematography...driven by the flood of small HD cameras and non-existent budgets. The cameras are great in that they enable almost anyone to grab it and start shooting (and that's about how it looks), but it's also resulted in a wholesale rejection of the craft of cinematography. I reject the notion that it is a viable evolvement. BS! It's lazy and trendy.

They got it dead right in Oblivion, and that's another reason I'm so impressed with it's look. They use every shot to tell the story! Granted, Oblivion had the budget to have the tools like remote heads, Scorpion cranes, steadicam, and fine operators (and a fine DP to lead them), but the craft existed long before those technologies. If you watch the making-of video you will see a shot of a set-up in the interior drone battle where Cruise is running about all the explosions and fire. You can easily see one of the operators squatting in a starting position with a hand-held F35. On action and as Cruise approaches, the operator rises smooth to standing and swings in behind Cruise as he passes. The shot is in the movie, and is perfect in that it is hand-held, but not crazy. You will also see the A-operator hand-holding for a crucial fight scene (no spoilers). That's a liltle crazy just to keep the two combatants in the frame, but works great.

Come back and give us your thoughts after you've screened it.
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post #108 of 135 Old 09-16-2013, 09:24 PM
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Here's another shot for you to study and see something very unique. In Vika's close up at 49:30, notice in the last moments of the shot when she raises her gaze slowly from the control panel to the exterior you can see the sky and horizon reflected in her eyes. That refelction is not CGI; it's really the same sky/horizon as you saw moments before in wider shots. Also, that cannot be done with green screen. That is made possible by the detail the camera and lenses are capable of, and the filmmakers intention for you to see that; realism...whether you catch it or it's subliminal. The making-of explains in more detail.

It is not perfect, though. In that shot, her upstage eye is too far out of focus. I think they should have pumped another half stop of light in for that set-up so that the depth of field was deep enough to carry both eyes...or at least not drop the upstage one so far out of focus. At least they chose the correct eye to be in focus when there is a doubt; always the downstage (nearest) eye.
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post #109 of 135 Old 09-16-2013, 10:15 PM
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post #110 of 135 Old 09-16-2013, 10:28 PM
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Say what you want about Cruise, but he dives into productions fearlessly.

The extras on Mission Impossible 4 illustrate that almost literally. The guy is on wires running and jumping around on the outside of a skyscraper like 100 stories up or whatever like it's no big deal. Yeesh, I could hardly even *watch* that. I assumed all of that was green screen - not so much!
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post #111 of 135 Old 09-16-2013, 10:49 PM
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The extras on Mission Impossible 4 illustrate that almost literally. The guy is on wires running and jumping around on the outside of a skyscraper like 100 stories up or whatever like it's no big deal. Yeesh, I could hardly even *watch* that. I assumed all of that was green screen - not so much!

Yes, I watched that, too! I have no fear of heights when in an aircraft (see photo). I don't mind them otherwise if I'm saftey harnessed in well, but....those heights in MI 4 were insane! I would S*** anywhere near that edge if I didn't really know and trust the safety guys. Even then, I don't know how Cruise could do what he did. Holy crap. BTW, I thought that was an extremely well-crafted action show. That's another that I'd loved to have done.


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post #112 of 135 Old 09-16-2013, 11:31 PM
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The shot of Tom Cruise that I refered to in paragraph five of post # 103 begins at 1:11:26 on the BD. It's followed at 1:11:50 by a masterfully executed focus flip back to Olga, then back to Tom, but he starts to drift upstage and they cut just before he gets buzzed. Not particularly difficult, but Cruise has to be cooperative on his movements or, when the focus flips back to him, he will be out of focus. Nice work!
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post #113 of 135 Old 09-17-2013, 05:28 AM
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One important thing to remember about Oblivion that it is not a sci-fi action movie. It is a sci-fi drama with action. A big difference...
...and exactly why I was disappointed in this movie--the drama just wasn't there.

The mechanics of it OTOH, and attention to detail, including stuff like the front projection and the real/spinning orb that caused the actors to have VERY realistic reactions to the flying, were remarkable.

I said already I really enjoyed the featurettes afterward--stuff like Cruise crashing the bike in Iceland (Iceland! Who Knew!)--and will watch the movie again for no other reason than this (and some of yr comments Cam Man).

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post #114 of 135 Old 09-17-2013, 06:38 AM
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We rented it and watched it @ 115" from about 8'. I knew from trailers that it would be beautifully shot, everything had that clean and sparse appearance (very similar to Prometheus). No doubt about it, the attention to detail was excellent. I really appreciated that. I noticed her super-dilated eyes, but figured she was on some sort of drug or something to keep her under control. I guess if it added some level of emotional depth to the film, I missed it. From the start I found her creepy and wanted her to die, so maybe that was the purpose of her eyes being like that? Haha, I don't know. I don't know how many of you play videogames, but this movie clearly borrowed much of its setting from the Fallout series - I felt like at any moment supermutants with gatling guns would appear. Overall it was enjoyable, but also somewhat forgettable. I'm glad I didn't pay money to see it in the theater, but I'm glad I saw it.
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post #115 of 135 Old 09-17-2013, 06:51 AM - Thread Starter
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Your comments are so informative and detailed Cam Man... Always a great pleasure to read. smile.gifcool.gif
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post #116 of 135 Old 09-17-2013, 08:27 AM
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Quote:
Originally Posted by nathanddrews View Post

We rented it and watched it @ 115" from about 8'. I knew from trailers that it would be beautifully shot, everything had that clean and sparse appearance (very similar to Prometheus). No doubt about it, the attention to detail was excellent. I really appreciated that. I noticed her super-dilated eyes, but figured she was on some sort of drug or something to keep her under control. I guess if it added some level of emotional depth to the film, I missed it. From the start I found her creepy and wanted her to die, so maybe that was the purpose of her eyes being like that? Haha, I don't know. I don't know how many of you play videogames, but this movie clearly borrowed much of its setting from the Fallout series - I felt like at any moment supermutants with gatling guns would appear. Overall it was enjoyable, but also somewhat forgettable. I'm glad I didn't pay money to see it in the theater, but I'm glad I saw it.

Hi Nathan and Laserfan. Your reviews are fine examples of the challenge that filmmakers have. Your honest and credible opinion has to be considered when films are being made. Different people/consumers view it with differing perspectives. Not everybody got so wrapped up in Film Appreciation 101 back in school. biggrin.gif In the running commentary by the director and Cruise, they discuss a number of things in the movie about which they had to make decisions while shooting and editing based on how they predicted audiences would react. The deleted scenes are good examples.

BTW, don't read too much into the dilated eyes. It was a happy coincident that is meaningless except for anyone who happens to notice it and find it appealing. I just mentioned it to draw attention to it...so those who didn't notice it can consider it for themselves.

Despite my ramblings here like I'm teaching Cinematography Appreciation 101, there must be a good story. Sometimes when it's not strong enough to capture a large enough audience, hopefully our work with the cinematography can support the storytelling adequately, and maybe embellish the overall experience enough to increase its value and acceptance.

That said, one reason I occasionally get going here about a film I liked is to bring to attention things that usually go unnoticed with the lightly veiled goal of increasing everone's appreciation for the work as a whole.
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...and exactly why I was disappointed in this movie--the drama just wasn't there.
Yours is another good example. The drama and emotion between the Cruise/Vika/Olga triangle, and the anxiety in the Cruise/Vika/Sally/TET quadrangle didn't ring in for you. For me, it did. I may be in the minority and a little simplistic in my judgement. I (and nobody in the biz) would be qualified to be in a test screening audience. That is why test screenings are almost always in flyover states (away from people in the biz).

You are kind, Morpheo. My pleasure.
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post #117 of 135 Old 09-17-2013, 08:43 AM
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Hey guys, I just stumbled onto a link about the cinematography for Oblivion, thanks to Zombie10K. It is excellent. Claudio Miranda is obviously a very traditional yet practical DP. Enjoy. http://www.creativeplanetnetwork.com/dv/feature/4k-future-oblivion-captured-sony%E2%80%99s-f65-cinealta-camera/62146
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post #118 of 135 Old 09-17-2013, 09:14 AM
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I noticed her super-dilated eyes... From the start I found her creepy and wanted her to die

Ha, ha Nathan! From the start I found her Smart and Sexy, and I wanted to enjoy 20 sweaty minutes with her! biggrin.gif

@Cam Man, fwiw the movie just struck me as "it's TomC doing his thing and dodging the bad guys. Where's the danger here? What's the "hook" I'm not getting?" But it must have grabbed me on some level otherwise I wouldn't be posting in this thread.

Maybe it's just that I thought it was a great concept, and am disappointed that they didn't (for me) provide better clues from the beginning to suggest a deeper underlying mystery.
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post #119 of 135 Old 09-17-2013, 09:53 AM - Thread Starter
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Where's the danger here? What's the "hook" I'm not getting?" But it must have grabbed me on some level otherwise I wouldn't be posting in this thread.

I know you asked Cam Man, but fwiw what struck me was a sense of loneliness, sadeness and despair, memories from a long gone, and better past. And yet, through his journey, Tom Cruise's character doesn't just want to collect his little souvenirs and artefacts, he wants to find love again - after all one of the things that makes us human is the very feeling of being loved, and loving someone. Among other things this is why I love this movie so much.
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post #120 of 135 Old 09-17-2013, 09:55 AM
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Ha, ha Nathan! From the start I found her Smart and Sexy, and I wanted to enjoy 20 sweaty minutes with her! biggrin.gif

@Cam Man, fwiw the movie just struck me as "it's TomC doing his thing and dodging the bad guys. Where's the danger here? What's the "hook" I'm not getting?" But it must have grabbed me on some level otherwise I wouldn't be posting in this thread.

Maybe it's just that I thought it was a great concept, and am disappointed that they didn't (for me) provide better clues from the beginning to suggest a deeper underlying mystery.

Agreed on all wink.gif counts. smile.gif

Shifting the subject slightly....Over on the $3K + pj forum>4K or not 4K thread, Coolscan is making a case that opinions and practices by traditional cinematographers like Miranda (Oblivion) are slowing down the move to 4K releases. Interesting, but...
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