Nomis wrote: ↑

December 5th, 2020, 8:31 am

Probably because they had an 65mm camera for the entire scene and then either shot Debicki's shots later or earlier, maybe not even on the same day lol (which I doubt)

As for Priya scene in Mumbai, ikr

Makes sense the

red/blue room

is all 65mm tbh.

But I would've loved it if they shot the ending all in IMAX.

I'm gonna make the guess that recording audio while filming the red/blue room stuff would have been impossible because the IMAX was probably just too loud.

Yup and it's a slower scene so they might have wanted to get longer takes. There are so many great sequences but this might be my favorite. The cinematography, the music, the acting and the mindfuckery of it all.

Also, the third act is everything I wanted from Tenet and more. Pure insanity.

Tarssauce wrote: ↑

December 5th, 2020, 1:22 pm

Yup and it's a slower scene so they might have wanted to get longer takes. There are so many great sequences but this might be my favorite. The cinematography, the music, the acting and the mindfuckery of it all.

Also, the third act

Stalsk-12 to be exact

is everything I wanted from Tenet and more. Pure insanity.

Agreed. Honestly, there has been some down takes about the movie, Vader even called it ugly and brown. But to me (I literally work as a colorist) this is Nolan's most colorful movie and varied from scene to scene. The way the seafoam/ teals of the shadows in the landscape in pop is lovely, the rich reds and oranges during and the Neon red/blue room is Nolan's most concentrated use of color. Even the dripping neon green rust stuff on the uses is really rich. The coasts in the movie are also rich and have really nice depth.

A Borges man wrote: ↑

December 5th, 2020, 2:54 pm

Agreed. Honestly, there has been some down takes about the movie, Vader even called it ugly and brown. But to me (I literally work as a colorist) this is Nolan's most colorful movie and varied from scene to scene. The way the seafoam/ teals of the shadows in the landscape in

Stask-12

pop is lovely, the rich reds and oranges during

the end with RP and JDW

and the Neon red/blue room is Nolan's most concentrated use of color. Even the dripping neon green rust stuff on the

massive turnstile that the army

uses is really rich. The coasts in the movie are also rich and have really nice depth.

YES! I totally agree. The movie isn’t dull by any means. There is a variety of locations and a variety of looks. The color grading is so rich.

Tarssauce wrote: ↑

December 5th, 2020, 3:20 pm

A Borges man wrote: ↑

December 5th, 2020, 2:54 pm

Agreed. Honestly, there has been some down takes about the movie, Vader even called it ugly and brown. But to me (I literally work as a colorist) this is Nolan's most colorful movie and varied from scene to scene. The way the seafoam/ teals of the shadows in the landscape in

Stask-12

pop is lovely, the rich reds and oranges during

the end with RP and JDW

and the Neon red/blue room is Nolan's most concentrated use of color. Even the dripping neon green rust stuff on the

massive turnstile that the army

uses is really rich. The coasts in the movie are also rich and have really nice depth.

YES! I totally agree. The movie isn’t dull by any means. There is a variety of locations and a variety of looks. The color grading is so rich.

Kiev is mostly grey but look at those warm interiors. The train yard sequence is grey and gloomy but it fits the mood of the scene. I love how colorful the set in Mumbai was. A mixture of warm lights and colorful tents. The Amalfi coast sequences again were absolutely stunning.

I too love the green hues in the vault and in the Tallinn freeport. Then we get to the car chase. Bright blue skies and warm sunshine. Spent too much time trying to create a curve in Photoshop that I could use for my photos/videos.

I have a soft spot for a bright blue sky and earthy or concrete grey foreground so Stalsk-12 looked good to me.

Colorwise Stalsk-12 is phenomenal. There is such of variety of warm and cool tones, it so rich. This is why chemical grading is sublime, instead of the digital grading that is used in most films, more often than not, digital grading would just bleach and flatten out the tones and hues.

The Car chase is interesting, its a lot of local value, but you get these nice cool, green, sea foam colors in the shadows. It seems that the grade in those seems is probably similar to a lot of Dunkirk. I love how high-contrast that scene is.

Dude you are a colorist ?? i may just have fallen in love haha.

Nicolaslabra wrote: ↑

December 6th, 2020, 12:38 am

Dude you are a colorist ?? i may just have fallen in love haha.

Yeah for like 10 years...it's good stuff...I'm also a classically trained painter (I emphasize this because I know how to grind pigment and make my own oil paint), I know my colors.

Well if y’all need a composer hit me up!!

KEM wrote: ↑

December 6th, 2020, 1:24 am

Well if y’all need a composer hit me up!!

A Borges man wrote: ↑

December 5th, 2020, 2:54 pm

Tarssauce wrote: ↑

December 5th, 2020, 1:22 pm

Yup and it's a slower scene so they might have wanted to get longer takes. There are so many great sequences but this might be my favorite. The cinematography, the music, the acting and the mindfuckery of it all.

Also, the third act

Stalsk-12 to be exact

is everything I wanted from Tenet and more. Pure insanity.

Agreed. Honestly, there has been some down takes about the movie, Vader even called it ugly and brown. But to me (I literally work as a colorist) this is Nolan's most colorful movie and varied from scene to scene. The way the seafoam/ teals of the shadows in the landscape in

Stask-12

pop is lovely, the rich reds and oranges during

the end with RP and JDW

and the Neon red/blue room is Nolan's most concentrated use of color. Even the dripping neon green rust stuff on the

massive turnstile that the army

uses is really rich. The coasts in the movie are also rich and have really nice depth.

To be clear, I actually mostly love the way Tenet looks. None of that was a takedown. It's a largely monochromatic movie (similar to Dunkirk, as you say) working within a very limited palette, often with darker and more muted colors. Within that palette, sure it is very rich. But it's a film full of brutalist architecture and darker colors.

The visual design intentionally creates an oppressive chilliness and tension between the characters and the spaces they inhabit. It's not trying to be as warm and beautiful as Inception or The Prestige, it's creating a visual language to put the viewer on edge. In that sense, yeah, a lot of the images are ugly in a conventional sense, but have a beauty in the ugliness. The overall tone of Tenet is possibly my favorite thing about it, and that tone is largely from the visual style.

These are features, not bugs. Enjoyed reading your comments on the various aspects of color in the film as well. That said, I do miss Wally.


-Vader