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

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  1. #91  
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    He did a great job. Liking the series as well.
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  2. #92  
    Senior Member Aaron Green's Avatar
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    Most definitely. If I didn’t mention it earlier in the thread, excellent work. I binged all 7 episodes on Black Friday last year.
    Aaron Green - Chicago, IL
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  3. #93  
    Senior Member Karim D. Ghantous's Avatar
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    Quote Originally Posted by Nick Morrison View Post
    Yes but the design of an actual lens also has an affect on distortion. Meizler specifically mentions that the 35mm Supreme (a modern lens) has less distortion than an 18mm Super Speed (from the 70's), which is why he preferred it. There are practical realities on set that have nothing todo with pure math.
    As I said above, those focal lengths are not equivalent. In any case, there are lenses other than the Super Speeds. I couldn't help but notice the distortion in The Shining - it was shot with Super Speeds and Varotals.

    Quote Originally Posted by Nick Morrison View Post
    Monstro is an 8K VV sensor, it's not a S35 sensor.
    Indeed. That was my point - there are no S35 sensors that match the Monstro's performance, therefore Monstro has a use case.

    Quote Originally Posted by Christoffer Glans View Post
    The sum of artefacts that a lens gets when manufacturing pieces of glass that need to be extremely protruding and rounded in order to get extremely wide does indeed affect image quality compared to longer lenses in the same series. If you have a smaller sensor, that extreme glass-making gets even more extreme in order to get to ultra-wide FOVs.
    The iPhone lens, ever since the iPhone 4, has performed very well despite its size and wide AOV. S35 is no challenge at all.

    Quote Originally Posted by Christoffer Glans View Post
    Just calculating the math, just cross-checking numbers between two sensor systems and lenses or circumstantial tests that exclude other practical realities is insufficient to conclude FF is irrelevant.
    I'm not sure who said that. But right now, VV is very relevant, i.e. the Monstro 8K, and the Sony A7SIII. They have solid use cases.


    Quote Originally Posted by Nick Morrison View Post
    So what Meizler chose to do (shoot on a 35mm Supreme on Monstro) instead of shooting on an 18mm Super Speed on S35 makes sense. He wanted to palpably avoid distortion. He says so himself:
    He wasn't talking about barrel or pincushion. He was taking about something that doesn't exist. We did expand the discussion to pincushion and barrel, though.

    Quote Originally Posted by Nick Morrison View Post
    You really need to think about your choices [I]in camera.
    I agree with that philosophy. Especially if you're shooting on film. Correcting distortion on film scans would be a bit too fiddly.
    Good production values may not be noticed. Bad production values will be.
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  4. #94  
    Senior Member Karim D. Ghantous's Avatar
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    Quote Originally Posted by Aaron Green View Post
    Most definitely. If I didn’t mention it earlier in the thread, excellent work. I binged all 7 episodes on Black Friday last year.
    I would like to make a public service announcement to warn against the effects of binge watching. ;-)
    Good production values may not be noticed. Bad production values will be.
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  5. #95  
    Senior Member PatrickWebb's Avatar
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    Quote Originally Posted by Karim D. Ghantous View Post
    I would like to make a public service announcement to warn against the effects of binge watching. ;-)
    Thanks for the warnings, but I will claim ignorance and do it anyway! :P
    Patrick Webb,
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  6. #96  
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    Absolutely stunning show. It's worth watching just for the look -- but the story, the characters, and the art design are all worthwhile as well. Works on every level. Colorist Steve Bodner also did a spectacular job.
    marc wielage, csi • colorist/post consultant • daVinci Resolve Certified Trainer
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  7. #97  
    Quote Originally Posted by Marc Wielage View Post
    Absolutely stunning show. It's worth watching just for the look -- but the story, the characters, and the art design are all worthwhile as well. Works on every level. Colorist Steve Bodner also did a spectacular job.
    Agree. The only thing I flet fell really short was the CG dream sequences. They did not feel on par with the rest of the work. A simple chess board with figures moving around, seams like the easiest thing in the world to make something great out of. But it felt like simple CG in a bad way. Guess thats not where the money ended up.
    Björn Benckert
    Creative Lead & Founder Syndicate Entertainment AB
    +46855524900 www.syndicate.se/axis
    VFX / Flame / Motion capture / Monstro
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