snausages
Well-known
The cinematography in Michael Haneke's newest film, The White Ribbon, is beautiful. Almost every frame is delicately lit and thoughtfully composed. I felt, though, that something was 'off.' The black and white projection didn't feel as rich or tonally complex as I was expecting from a movie that's been praised unanimously for its 'b&w photography.' I couldn't tell if it was a bad print or my over-analytical, RFF-trained eyes. Digging for more info, I discovered that the movie was shot on color film and then converted to B&W in post.
The DP, Christian Berger, says:
"Since the television stations have contractually imposed a colour version of the film, we were forced to film that way. In the beginning, we were somewhat disappointed that we could not film directly in black and white but, after some tests were performed, I saw that the combination of new colour film stock (500T, 250D and 100T), the 4K scan and the black and white digital calibration was exactly what we needed to achieve this type of modernity. I think that, especially with respect to the grey scale, there is no comparison with the original black and white negatives whose technology has not changed over the last 30 years…The kind quality we achieved for this film can only be attained today, using digital technology."
The full interview is here: http://image-forum-org.domain-ref.http.carbon.lon.periodicnetwork.com/case-studies.php?sid=50
The movie and camerawork are excellent, but it was interesting to be able to feel the difference between converted color film and true b&w, with no prior knowledge of how it was shot.
The DP, Christian Berger, says:
"Since the television stations have contractually imposed a colour version of the film, we were forced to film that way. In the beginning, we were somewhat disappointed that we could not film directly in black and white but, after some tests were performed, I saw that the combination of new colour film stock (500T, 250D and 100T), the 4K scan and the black and white digital calibration was exactly what we needed to achieve this type of modernity. I think that, especially with respect to the grey scale, there is no comparison with the original black and white negatives whose technology has not changed over the last 30 years…The kind quality we achieved for this film can only be attained today, using digital technology."
The full interview is here: http://image-forum-org.domain-ref.http.carbon.lon.periodicnetwork.com/case-studies.php?sid=50
The movie and camerawork are excellent, but it was interesting to be able to feel the difference between converted color film and true b&w, with no prior knowledge of how it was shot.
cplkao
Member
It a brilliant film, a bit slow first, but gripped you till the end...it has a powerful story about religion, the opression of children, and evil, all settled in a remote village in Geman.
In an interview with Sight and Sound, the director said he choice to made the film B/W to potray it as a period piece and he had to look at photos of August Sanders in order to find that look of the period.
Lucas Kao
In an interview with Sight and Sound, the director said he choice to made the film B/W to potray it as a period piece and he had to look at photos of August Sanders in order to find that look of the period.
Lucas Kao
Rachgoodtime
Member
It is a great movie but I have to say that I also noticed something uncommon in the B&W and I was not able to say what, it is true that it actually looks like colors converted in B&W.