Recent content by Saul Pincus

The vehicles may largely be real, but Miller's quoted as saying that every shot in Fury Road had some kind of CG enhancement – and I see no reason to believe that isn't the case on Furiosa too.

I worked with Lou once. A consummate actor and a nice man, no matter what the situation or the quality of the material. He gave great dailies. RIP.

Though we're primarily concerned with the aesthetic value of imagery and sound on this forum, it's worth noting that the push to create digital intermediates in the first place – as well as digital acquisition and projection – was primary a financial one. Lucas was concerned with the creative...

I was involved in features at the crossover point when we went from finishing on film to finishing a film via a 2K DI. Because it was an overlap, for a few years there, the lab timers still had their jobs and rather than color time shot-to-shot, were now in charge of printing according to the...

Fanzines were the "internet of the day" in 1980, and Starlog was certainly the hub where you'd find ranging (and raging) opinions.

The missing element in Dial is Spielberg, whose touch can't be replicated. That doesn't mean that Dial doesn't have its share of wonderful moments, though.

Now we know how Christmas trees are grown: patience. Thanks Neil!

As a sort of side note... For visual effects work, it's standard practice to de-grain and then re-grain (regardless of acquisition format.) Having as clean an image as possible is critical so that "industrial-grade" matte work and other CG integration can happen with a minimum of fuss. The...

For what it's worth, I saw a 70mm blowup of Titanic near the end of its original theatrical run. Having already seen it four times previously in 35mm anamorphic, I was astonished. Part of that was the steadiness of the image, due to reduced magnification. But the sharpest 5-70 blowups I'd seen...

Mr. Matessino is treasure, and I'm thrilled for him. What a milestone release.

It's rubbish, but perhaps the most well-crafted and convincing rubbish you'll ever see. A photographic and editorial masterpiece. John Williams recorded his score early enough so that the editorial team could cut the film with and to his music. The result is never less than spellbinding.

Politely agree to disagree here. I've been in the business for decades and have a decent sense of these things.

I disagree. Most people in its target demo (decidedly older) just didn't get around to seeing it. Why do I say this? Because I literally know dozens who should have, but weren't compelled to. It's a shame, because it's a lot of fun and delivers in its genre. I too look forward to the physical...

I don't forsee a quick solution because the ramifications of one that would address the key points of the WGA and SAG are so seismic. And they aren't the only victims: I remember talking with a few composer friends well over a decade ago about how they were now being forced to take far less...

Just because something's shot, doesn't mean it's not subject to ADR. On films like this and many TV series, ADR is required once the picture edit is well along. Actors can't currently participate in this (nor can writers, who would adjust or add lines). I know of many movies and shows that have...