Thread: The Queen’s Gambit - Steven Meizler FDTimes Interview

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  1. #1 The Queen’s Gambit - Steven Meizler FDTimes Interview 
    Moderator Phil Holland's Avatar
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    Meizler's work on Queen's Gambit certainly was well thought out and absolutely beautiful, as was the show itself.

    Jon Fauer recently interviews Meizler:
    https://www.fdtimes.com/2021/03/16/s...I8lPEYcGH5-fkU

    Shot on RED Monstro 8K VV, Zeiss Supremes, Tiffen Black Satin 1.
    Phil Holland - Cinematographer - Los Angeles
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    2X RED Monstro 8K VV Bodies, 1X RED Komodo, and a lot of things to use with them.

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  2. #2  
    Senior Member Karim D. Ghantous's Avatar
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    Thanks for posting this. So far I have seen only 3 of the episodes. I'm definitely glad that it wasn't a feature film. I had no idea what they used to film it but it was obviously digital. My friends had just bought a massive new Samsung TV and they said, hey, watch a few episodes of this show. I was hooked instantly. The only flaw was that they still had motion interpolation on the TV which did ruin it a bit. I have a friend who has a 50" Viera plasma, so maybe I might get a chance to watch it properly there.

    Interesting that Meizler chose ISO 800 as the base. The official base ISO is 1600 AFAIK. So what's your opinion on the Black Satin compared to, say, a Glimmerglass? I have heard great things about the latter, particularly the bronze one. I will do some research on those eventually. I like what I hear about both.

    I have to say, I'm really disappointed when I hear professionals talk about how larger formats have 'less distortion'. Cut it out, already, please. This does not help people make sound decisions about hardware. Monstro is awesome, but not because of its size. I have heard it described as the best sensor ever made.

    So is there much difference between smoke and haze? And do you work with viewing LUTs, or do you just use the histogram as Meizler does? I think I agree with his philosophy that having a DIT on set can be counter-productive. I wonder how many sets could be made more efficient if they did without one.
    Good production values may not be noticed. Bad production values will be.
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    Senior Member Steve Sherrick's Avatar
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    When he’s talking about less distortion he’s talking about being able to get closer with longer lenses.
    Steve Sherrick
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    Senior Member Steve Sherrick's Avatar
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    As for DIT it works for some sets to not have one, but I can assure you other sets need one. Not every DP works the same way or has the same technical background
    Steve Sherrick
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    Senior Member Brian Pascale's Avatar
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    I really liked the look, great sets too.
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  6. #6  
    Senior Member Nick Morrison's Avatar
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    Great article thanks for sharing
    Nick Morrison
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  7. #7  
    Senior Member Karim D. Ghantous's Avatar
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    Quote Originally Posted by Steve Sherrick View Post
    When he’s talking about less distortion he’s talking about being able to get closer with longer lenses.
    I mean no disrespect but that is not a meaningful statement.
    Quote Originally Posted by Steve Sherrick View Post
    As for DIT it works for some sets to not have one, but I can assure you other sets need one. Not every DP works the same way or has the same technical background
    That's fair enough.
    Good production values may not be noticed. Bad production values will be.
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  8. #8  
    Senior Member Jacek Zakowicz's Avatar
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    Quote Originally Posted by Steve Sherrick View Post
    When he’s talking about less distortion he’s talking about being able to get closer with longer lenses.
    How many times? There is no difference, as in ZERO as long as the distance is the same and the angle of view obviously the same, as in wider for smaller sensors and longer for larger ones. Stop also needs to be compensated but that has nothing to do with the distortion anyway. Jeez....
    Jacek Zakowicz, Optitek-dot-org, jacek2@optitek.org
    Professional Broadcast and Digital Cinema Equipment
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  9. #9  
    Senior Member Steve Sherrick's Avatar
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    Don’t shoot the messenger. Here is his statement so I can remove myself from the interpretation.

    For the closeups, was there a particular focal length you preferred or were you changing it up?

    I liked the 35mm and the 25mm. One of the reasons we were using Large Format was to get very close to the chess board without having distortion.

    If we were shooting Super35, the equivalent would have been an 18mm ZEISS Super Speed and it would look a lot different. Not having that distortion was a big part of it.
    Steve Sherrick
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  10. #10  
    Senior Member PatrickWebb's Avatar
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    This is an amazing looking series!
    This one is next after I finish watching la papel de casa (also an amazing series).
    Patrick Webb,
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