im a huge fan of the look of guy maddin's films. he shoots mostly with b/w 16mm & super 8 film.
i was wondering if anyone know what camara/ lens/ filters/ diffusers/ etc... he uses to get that turn of the century look? its almost perfect in capturing the lens fairs, the flicker, vignetting, film speed... It also appears that, perhaps, his film is processed by hand?
any info would be greatly appreciated.
guy maddin & super-8??
Moderator: Andreas Wideroe
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Santo
He shoots with his own Bolex H16. Loves the thrill of winding it up on set. Super 8 footage on SADDEST MUSIC was shot on Bauer A512 and a few other Bauer models. I believe 8 super 8 cameras were used in all, primarily by a cinematographer he invited from South America who is credited in the film, so watch for his name if you see in the theatre or on home video when it's released. There was also a 35mm "A" camera on the shoot. Typically, a dozen cameras were running at once on that project, as Maddin is pretty much confused and appears helpless while filming these things, having seen him on set, not sure what's going to work.
The "look" is often acheived by the same methods used during the time period. Lots of vasaline. Old, scratched and mildewed lenses with "character". Also, some of the footage was transfered to digital Beta before being blown up to 35mm to give it extra texture. Shooting at 18fps also helps with the "look".
I would recommend you get a hold of the documentary TEARDROPS IN THE SNOW which plays on the Independant Film Channel and, I think, Sundance Channel from time to time. Likely it will be on the DVD release of SADDEST.
Personally, I think it's a very mediocre film in many ways, and am a little angry being a tax-payer who paid for much of the 3.5 million budget. I have a problem with socialism in films when it comes to investing large sums of money in films which are not "for the people" and won't be appreciated by them. It really goes against the concept of socialism and there is no logical defence for art house socialist filmmaking. However it is interesting to me from a technical standpoint, and I think Guy Maddin should be encouraged and supported to make more terrific shorts like HEART OF THE WORLD -- unless he finds wealthy private patrons like your interesting American indie filmmakers like Hal Hartley and Jarmush do. Then I think it's terrific he makes odd-ball features that will never see a penny of profit except in the producer's pockets (like Atom Egoyan's exec. producer's fee for doing jack-all) -- just not out of my hard-earned paycheque, thank you.
The "look" is often acheived by the same methods used during the time period. Lots of vasaline. Old, scratched and mildewed lenses with "character". Also, some of the footage was transfered to digital Beta before being blown up to 35mm to give it extra texture. Shooting at 18fps also helps with the "look".
I would recommend you get a hold of the documentary TEARDROPS IN THE SNOW which plays on the Independant Film Channel and, I think, Sundance Channel from time to time. Likely it will be on the DVD release of SADDEST.
Personally, I think it's a very mediocre film in many ways, and am a little angry being a tax-payer who paid for much of the 3.5 million budget. I have a problem with socialism in films when it comes to investing large sums of money in films which are not "for the people" and won't be appreciated by them. It really goes against the concept of socialism and there is no logical defence for art house socialist filmmaking. However it is interesting to me from a technical standpoint, and I think Guy Maddin should be encouraged and supported to make more terrific shorts like HEART OF THE WORLD -- unless he finds wealthy private patrons like your interesting American indie filmmakers like Hal Hartley and Jarmush do. Then I think it's terrific he makes odd-ball features that will never see a penny of profit except in the producer's pockets (like Atom Egoyan's exec. producer's fee for doing jack-all) -- just not out of my hard-earned paycheque, thank you.
thanks for the reply. i just purchased dracula, twilight, heart of the world and archangel on DVD. really stunning. he's a master of that type of story telling genre. AND ABOVE ALL, HE'S OUT THERE DOING IT! gotta tip my hat to him for that.
i figure there still alot of post in his films. im curious how much is shot in the camera and how much is tweeked in post?
i figure there still alot of post in his films. im curious how much is shot in the camera and how much is tweeked in post?
PS...
have you seen Napoleon, made i believe in the late teens or early 20's? stunning also with each segment in a different tone. i believe francis ford coppala's father redid the score to it.
if you havent seen it, try to check it out. same visual genre.
if you havent seen it, try to check it out. same visual genre.
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Santo
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Santo
Speaking of Coppola. Actually, there is a very interesting little comparison to be made between Coppola's BRAM STOKER'S DRACULA and Maddin's ARCHANGEL. Here's what you do: watch both films. Notice the battle sequences with the silhouettes. They are pretty much identical.
Why? Well, Scorsesse (spelled it wrong, but I'm typing fast, you know who I mean,obviously), has an extensive print collection of Maddin's films. I attended the Canadian Film Centre and graduated from a couple of programs there, my instructors included ARCHANGEL's Producer Greg Klymkiw. And also Maddin's old friend John Paizs (I highly recommend CRIME WAVE to all wind-up Bolex fans, and Paizs is a hell of a good guy). Anyways, Martin S. mentioned ARCHANGEL to Coppola and Coppola ordered a print of ARCHANGEL as he was making DRACULA. These guys don't bother with videos. :lol:
Anyways, you watch the two battle sequences. Coppola stole it. Watch it -- you'll see for yourself!
Not seen NAPOLEON yet. It's one of those films I'm waiting to see on the big screen when it gets shown as it does from time to time. One of the advantages of living in a major city.
Why? Well, Scorsesse (spelled it wrong, but I'm typing fast, you know who I mean,obviously), has an extensive print collection of Maddin's films. I attended the Canadian Film Centre and graduated from a couple of programs there, my instructors included ARCHANGEL's Producer Greg Klymkiw. And also Maddin's old friend John Paizs (I highly recommend CRIME WAVE to all wind-up Bolex fans, and Paizs is a hell of a good guy). Anyways, Martin S. mentioned ARCHANGEL to Coppola and Coppola ordered a print of ARCHANGEL as he was making DRACULA. These guys don't bother with videos. :lol:
Anyways, you watch the two battle sequences. Coppola stole it. Watch it -- you'll see for yourself!
Not seen NAPOLEON yet. It's one of those films I'm waiting to see on the big screen when it gets shown as it does from time to time. One of the advantages of living in a major city.