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Post by Popeye Doyle on Feb 8, 2019 17:45:33 GMT
With a budget $30 million, Ghostbusters wasn't exactly a cheap film. By comparison, The Empire Strikes Back had a budget of $18 million. Despite the money behind it, the look of the film doesn't reflect it. Many scenes are awash in heavy grain. Its greatest asset is shooting in Panavision, which made a great case for how awful watching movies "modified from their original version" was during the VHS days. Director Ivan Reitman and cinematographer László Kovács make pretty effective use of the full frame. The second image was pretty bad when viewed in Pan 'N scan as all three actors were squeezed into the frame.
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Post by petrolino on Feb 9, 2019 1:52:36 GMT
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Post by WarrenPeace on Feb 9, 2019 1:59:41 GMT
RIP Harold Ramis
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Post by WarrenPeace on Feb 9, 2019 2:03:34 GMT
With a budget $30 million, Ghostbusters wasn't exactly a cheap film. By comparison, The Empire Strikes Back had a budget of $18 million. Despite the money behind it, the look of the film doesn't reflect it. Many scenes are awash in heavy grain. Its greatest asset is shooting in Panavision, which made a great case for how awful watching movies "modified from their original version" was during the VHS days. Director Ivan Reitman and cinematographer László Kovács make pretty effective use of the full frame. The second image was pretty bad when viewed in Pan 'N scan as all three actors were squeezed into the frame.
Meh. Nothing special about it. The kids are already asking re: the bottom image: What's a card catalog?  |
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Post by petrolino on Feb 9, 2019 2:13:36 GMT
Laszlo Kovacs was an unusual choice that somehow worked out (check the box-office receipts). He was known for mixing documentary realism with tricks of natural light. He was a small-scale cameraman and one of the best, not a commercial fantasy blockbuster guy. I heard it was Slovak filmmaker Ivan Reitman who wanted him because he understood his abilities. Hungary, Czech Republic, Poland and Slovakia have complicated, intertwined geographical and cultural histories. Reitman gave a leg-up in Canada to filmmakers like David Cronenberg, William Fruet and Rafal Zielinski, as well as supporting Hungarians like Miklos Lente, Peter Medak and Tibor Takacs in their genre work.
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