lil' hoytey

mchekhov 2: Chek Harder wrote:lil' hoytey

From Film Academy in Lodz (Poland)

Ruth wrote:

Lord Shade wrote:It's fun how some traitors can put Hoyte over Pfister, based on ONLY ONE film he made with Nolan, despite the fact that Pfister has already created SEVEN films and worked most of his life with Nolan!

That kinda makes it sound even worse, if some people are ready to take one film by van Hoytema, instead of 7 by Pfister.

Agreed. As I said earlier Pfister can easily provide the shot which sticks in memory, his style is more rational and modern while Hoytema`s is more poetic and technicolor.

Hoyte is just levels above pfister

Only TDKR impressed me

TDK and Memento had impressive shots too but pfister is average overall

I hope nolan replaces wally with hoyte, who is clearly one of the best DPs working rn

Apocalypse wrote:Hoyte is just levels above pfister

Only TDKR impressed me


TDK and Memento had impressive shots too but pfister is average overall

I hope nolan replaces wally with hoyte, who is clearly one of the best DPs working rn

i think you are being a little harsh.i reckon inception had insane cinematography .the dark knight too.but i respect your opinion

Apocalypse wrote:Hoyte is just levels above pfister

Only TDKR impressed me

TDK and Memento had impressive shots too but pfister is average overall

I hope nolan replaces wally with hoyte, who is clearly one of the best DPs working rn

To me TDKR was not Wally's best. Sure, there were many great shots, but to me it would be The Prestige.

Anyway, as other said, it's too early to tell.

Apocalypse wrote:Hoyte is just levels above pfister

Only TDKR impressed me

TDK and Memento had impressive shots too but pfister is average overall

I hope nolan replaces wally with hoyte, who is clearly one of the best DPs working rn

Man, you must be blind.

upon rewatch im actually not blown away by hoyteys work

individually he has some gorgeous shots but overall it feels like a jumble of different styles and ideas. great cinematography will create a specific look which you can attribute to the film but i don't think you can do that here. Contrast ratio, style of lens and of camera movement all sorta jump around.

also i feel pfister handles imax better than hoytey. i cant find a screencap but i remember some shots on mann's planet where they were just standing outside talking, but their heads were at the very top of the screen, which makes you crane your neck up. i found a lot of shots weren't quite framed for imax, which meant i didn't get that immersive feel as much as TDK or TDKR.

mchekhov 2: Chek Harder wrote:also i feel pfister handles imax better than hoytey. i cant find a screencap but i remember some shots on mann's planet where they were just standing outside talking, but their heads were at the very top of the screen, which makes you crane your neck up. i found a lot of shots weren't quite framed for imax, which meant i didn't get that immersive feel as much as TDK or TDKR.

That's probably because he retooled the camera and made it handheld. I guess it's not very easy to shoot and frame properly when carrying this massive heavy camera. Also, don't forget that Pfister is way more experienced with IMAX. He and Nolan tested those cameras in The Prestige before they actually used them for TDK and TDKR.

There is still a lot of Hoytes work I haven't seen, but from what I have seen it doesn't seem like he ever really uses any specific or consistent color palette even within the same film. I think this is a unique trademark of his.