danevito wrote: ↑

October 17th, 2021, 8:14 pm

imdb doesn't say anything about IMAX 1.43. And this doesn't seem to be that kind of movie that justifies that large format? lots of dialogue.. remember he didn't use any IMAX camera for the prestige or inception.

Oppenheimer marks the fourth collaboration for Christopher Nolan and cinematographer Hoyte van Hoytema, who served as director of photography for Interstellar, Tenet and Dunkirk, for which he received an Oscar® nomination. Van Hoytema’s filmography also includes Her, Spectre, and Nope. “My biggest challenge with Oppenheimer rests in the way it is very different from the other films I’ve made with Chris,” says van Hoytema. “In Interstellar, Dunkirk and Tenet, there’s an emphasis on action. Oppenheimer is more like a psychological thriller; it’s reliant on the faces of its characters.”

• “The style of photography that Hoyte and I adopted for this movie was to be very simple yet very powerful,” Nolan says. “No barrier between the world of the film and the audience, no obvious stylization other than the black-and-white sequences. But particularly with the color sequences, we wanted very unadorned, simple photography, as natural as possible, revealing lots of textures in the world. Whether it’s the costumes or the sets or locations, you’re looking for real world complexity and detail.”
• Oppenheimer was shot exclusively with large format cameras—Panavision® 65mm and IMAX® 65mm. “What large-format photography gives you is clarity, first and foremost,” says Nolan. “It’s a format that allows the audience to become fully immersed in the story and in the reality that you’re taking them to. In the case of Oppenheimer, it’s a story of great scope and great scale and great span. But I also wanted the audience to be in the rooms where everything happened, as if you are there, having conversations with these scientists in these important moments.”
• The black-and-white scenes required the invention of a new kind of film stock. “One of our first phone calls was to Kodak,” says van Hoytema. “We asked: ‘Do you have 65-millimeter black-and-white film?’ And of course, they didn’t, because they never made it before. So, we asked: ‘Can you make it?’” And they were like, ‘Maybe?’ And then we were always nagging them like little kids to do it. Fortunately for us, they really stepped up to the challenge. They supplied us with prototypal film stock—freshly manufactured, with hand-written labels on it—and when we tested it, the first time we saw it, it just blew us away. It was so special and so beautiful.”
• The filmmaking became an ambitious experiment in producing a human-centered drama with the biggest cameras in the world. “IMAX® is usually this format for spectacle, used to present vistas and convey grandeur,” van Hoytema says. “But from the very beginning, I have always been curious to discover if it can be just as powerful when used for close-ups. Can we shoot psychology? Can we make this an intimate medium? With Oppenheimer, there has been an evolution. It was the first film where I was forced to put my money where my mouth was, so to speak, and make it happen, because the story demanded it.”
• Given the large-format film and the two different kinds of stock, both color and black-and-white, the challenge of creating Oppenheimer with multiple formats continued into post-production, as the film had to be edited, color-corrected and printed for IMAX®, digital and standard presentation.

666kalpa wrote: ↑

July 8th, 2023, 6:09 am

Interview with Hoyte van Hoytema



Anyone got scans of this?