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I'm surprised they shot on Alexa -- M. Night has thoroughly been a "film traditionalist" for years, even to the extent of asking his sound crew to record on analog Nagras and also using KEM flatbed film editing gear. But this all-analog approach did not help bombs like Lady in the Water.

I wish him luck with Glass and hope it's a huge hit -- visually, it looks tremendous. And that's a lot of huge acting talent in the cast.
 
Marc Wielage said:
I'm surprised they shot on Alexa -- M. Night has thoroughly been a "film traditionalist" for years, even to the extent of asking his sound crew to record on analog Nagras and also using KEM flatbed film editing gear. But this all-analog approach did not help bombs like Lady in the Water.

I wish him luck with Glass and hope it's a huge hit -- visually, it looks tremendous. And that's a lot of huge acting talent in the cast.
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Even on Split?

I'm pretty sure I know the on-set sound mixer for Glass; he was talking about heading down to shoot it towards the end of a project we both work on last fall. Young enough guy that I don't think he'd specialize in recording analog.

I know everyone has discounted M. Night for years, but I keep telling people to watch Split. Split made me excited for Glass even before I knew they were making it.
 
Nick Pasquariello said:
Even on Split?
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Sure, James McAvoy is a terrific actor.

I'm pretty sure I know the on-set sound mixer for Glass; he was talking about heading down to shoot it towards the end of a project we both work on last fall. Young enough guy that I don't think he'd specialize in recording analog.
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Watch the "Making of Lady in the Lake" documentary on the DVD, and read the book
The Man Who Heard Voices: Or, How M. Night Shyamalan Risked His Career on a Fairy Tale. It's a fascinating look of how sheer arrogance and ego brought down his whole career... for a time. And the documentary shows the Nagra on the set and discusses why he wanted it used during production (back in 2006).

It's clear Night has been on the right path lately, and his last few films have done fairly well, critically and financially. I think he's a fascinating filmmaker, even with his failures.
 
I mean, did he use analog equipment even as recently as Split? I believe you that he used it in 2006; he had a ton of clout back then and could probably get away with whatever quirkiness he wanted. (Also, I've long heard, through the production grapevine, that regardless of how one might feel about the final products, his movies are apparently really, really great to work on on-set. We crew folk will indulge quite a lot of quirkiness if the meals are on time, the OT isn't too brutal, and the "adults" are level headed, smart, and don't blow a gasket over dumb stuff.) Split, by comparison, I think was in the $10m range for total budget, and I would think that he could not have indulged himself in that way.

Regardless, I've been meaning to rewatch Unbreakable for a while now, and I'm a guaranteed ticket buy for Glass. But be warned, if I've got any curiosities about the image after the fact I'm coming straight here to pick Jason Myres' brain.
 
He also directed "After Earth" which was shot on a Sony F65.

I'm going watch Split soon, since I keep hearing about how good it was... and looking forward to Glass, since I enjoyed Unbreakable.
 
Nick Pasquariello said:
I mean, did he use analog equipment even as recently as Split?
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Split was shot on Alexa XT 3.2K, so I think he's gotten the "all-analog" approach out of his system.

I just had an old friend who was a DP for decades in the film days, and he asked me about my approach to "analog" (film) vs. digital: I laughed and said, "our lofty attitude is 'we try to bring a film aesthetic to digital projects,' but all that means is we try very hard to make it look good and make the client happy."

M. Night Shyamalan still lives and works in Philadelphia, so he was doing a lot of his digital post projects over at Postworks/NYC. Glass is being done by Mike Hatzer & Chris Jensen at Technicolor/Hollywood, which just shows you that things change.
 
Marc Wielage said:
Split was shot on Alexa XT 3.2K, so I think he's gotten the "all-analog" approach out of his system.

I just had an old friend who was a DP for decades in the film days, and he asked me about my approach to "analog" (film) vs. digital: I laughed and said, "our lofty attitude is 'we try to bring a film aesthetic to digital projects,' but all that means is we try very hard to make it look good and make the client happy."

M. Night Shyamalan still lives and works in Philadelphia, so he was doing a lot of his digital post projects over at Postworks/NYC. Glass is being done by Mike Hatzer & Chris Jensen at Technicolor/Hollywood, which just shows you that things change.
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Ironically, I just got back from a few days working with the sound mixer that I thought worked on Glass. I asked him about the analog thing and he chuckled and said he certainly didn't work analog. And that they shot on an Alexa.
 
Nick Pasquariello said:
Ironically, I just got back from a few days working with the sound mixer that I thought worked on Glass. I asked him about the analog thing and he chuckled and said he certainly didn't work analog. And that they shot on an Alexa.
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If you're a Shyamalan fan, read the book The Man Who Heard Voices that I mentioned above. It's a very interesting examination of how eccentric the writer/director got, but I think he went through a rude awakening with several films that followed. I'm glad he got back on track: he's still good with story and character, and I think his most recent films show he hasn't lost his knack for making very scary, intense films.
 
I can believe that. Without being a hugely dedicated fan, Unbreakable and Sixth Sense certainly made waves, and were really good (though with the hindsight of time, I think Unbreakable holds up better than Sixth Sense, but that's a whole other discussion), and then his movies got poorer and poorer regarded, and he sort of vanished for a bit before coming back with Split, which is clearly an "Ok, let's strip down to what we know works, and get rid of all the excess," and is fantastic.

I probably should read the book, because now that I think of it, the journey from his perspective is probably fascinating.
 
Marc Wielage said:
M. Night Shyamalan still lives and works in Philadelphia, so he was doing a lot of his digital post projects over at Postworks/NYC. Glass is being done by Mike Hatzer & Chris Jensen at Technicolor/Hollywood, which just shows you that things change.
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Just because a project was finished in New York doesn't mean that Hatzer didn't do it. Just because a Coen Brothers picture is being finished in New York doesn't mean that Peter Doyle isn't doing it.

In demand colorists go wherever the director or the studio wants them to be for specific projects regardless of their home base, particularly when they work for a company with multiple world locations. It's not just dailies guys who travel for work these days.
 
Michael Most said:
Just because a project was finished in New York doesn't mean that Hatzer didn't do it. Just because a Coen Brothers picture is being finished in New York doesn't mean that Peter Doyle isn't doing it.
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Hatzer is credited on IMDB, so I'm assuming that credit is accurate.

It is true that where the colorist is is not as important these days. We recently did a project with clients in Moscow and another project with clients in Columbia, so remote sessions are always one way to go. Features are a longer-termed commitment and are dicey in terms of scheduling, particularly when a big crew is involved.
 
Michael Most said:
Just because a project was finished in New York doesn't mean that Hatzer didn't do it. Just because a Coen Brothers picture is being finished in New York doesn't mean that Peter Doyle isn't doing it.

In demand colorists go wherever the director or the studio wants them to be for specific projects regardless of their home base, particularly when they work for a company with multiple world locations. It's not just dailies guys who travel for work these days.
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What Mike Most said...

Like everyone else in film production, traveling for work becomes part of the deal.

Last year I graded Split and Girl on the Train at Technicolor/PostWorks NYC.

This year I just finished grading Mary Poppins Returns for 5 weeks with Rob Marshall and Dion Beebe at PostWorks NY. Peter happened to be there at the same time grading with Bruno Delbonnel and the Coen Bros. Made for some nice water cooler talk for all.

In all of these instances those jobs where a result of my long time relationship with either the cinematographer or director who live and work in the NYC area.

Marc Wielage said:
Hatzer is credited on IMDB, so I'm assuming that credit is accurate.
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Yes, the Glass credit is accurate.
 
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