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Old 06-22-2008, 06:04 PM   #721
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Hmm, I see what you mean now and it sounds interesting. I can't think of any examples of that being done right now so can't comment on how it might be properly pulled off, but depending on the shot and action required it could be done a few ways. Possibly only exposing half of the negative for multiple takes of the same shot like for Alec Guiness in Kind Hearts and Coronets, but that's probably only if there's no interaction between the two halves of the screen.

Definitely different than deep focus like you pointed out.
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Old 06-22-2008, 06:11 PM   #722
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Yeah, a sort of masked double-exposure is probably the most likely method. It's definitely an older technique too, as I don't think I've ever seen it done in a more contemporary (likely digitally edited) film, where said effect would be done digitally in post.

It's also extremely uncommon, which is probably because it likely takes an inordinate amount of work to pull off successfully and the fact that it's entirely unappealing and distracting. I really hate it, so I figure more directors would avoid it, or simply find the benefit out of balance with the effort needed to pull of an effect like that in camera.
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Old 06-22-2008, 06:41 PM   #723
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Just went out and rented I'm Not There, Once, and Almost Famous (which I've already seen and loved, but only saw it on the internet, and I wanted my mom to watch it as well). Will report back.
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Old 06-22-2008, 06:42 PM   #724
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Three fantastic rentals.
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Old 06-22-2008, 06:43 PM   #725
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You know, reading the little bastard's original post again on it, he might actually be talking about deep focus, but I still think he's referring to the thing I'm talking about. Could be either thing, since he did mention the "blur between the two figures" or whatever.

I'm talking about a case where a single frame seems to be divided in half, vertically, by an apparent change in focus. For example, in the left half of the frame, a character in the background is in focus, while his foreground is out of focus. Then in the right half of the frame (the same shot mind you, at least it appears as such if it is in fact an editing trick) a character in the foreground appears in sharp focus, while his background (thus the left character's space) in out of focus. It's not a case of deep focus where all layers of the frame are in focus, it's as though two halves of the same shot are both in shallow focus, merely focused in different planes.

It's a particularly jarring effect because where the two halves of the frame meet, there's a strange uncanny vertical line where the focus shifts from one side to the next. There's a particular shot like this in Serpico where I first noticed this being done. Like I said, I assumed this was what YLB was talking about, though I don't remember the shot in question in The Untouchables to confirm it or not, though no, it's certainly not the same thing as Welles' cabin shot.
Apparently virginity really improves ones eyesight.
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Old 06-22-2008, 06:44 PM   #726
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I wouldn't know.
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Old 06-22-2008, 07:43 PM   #727
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I've yet to see "I'm Not There".
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Old 06-22-2008, 08:04 PM   #728
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I threw out a misnomer with the Kane cabin shot, sorry about that, guys. Here's a screengrab of the shot in question:



The blur in background between Connery and Costner is fairly noticeable.

Laz and NSW, I may be getting the Woody set afterall.

I know you're a fan monkeyskin, do you like Woody's stuff, Lance?
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Old 06-22-2008, 08:11 PM   #729
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Thanks for posting that screengrab. That's exactly what I was talking about too. You can see there how the lines of the background objects don't quite match up even. I'm thinking our the double-exposure theory might hold some water afterall.

Haven't seen a whole lot of Allen. What I have seen I've enjoyed quite a bit, however.
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Old 06-22-2008, 08:14 PM   #730
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Thanks for posting that screengrab. That's exactly what I was talking about too. You can see there how the lines of the background objects don't quite match up even. I'm thinking our the double-exposure theory might hold some water afterall.

Haven't seen a whole lot of Allen. What I have seen I've enjoyed quite a bit, however.
No problem. What's really brilliant is when it's used again in the aforementioned Opera scene. It starts with the opera singer in the foreground and De Niro in the background, then the camera zooms toward De Niro while retaining the same quality of the opera singer. That may be my favorite shot of the film, and definitely showed me a nice technique that would work well in a short film I'm developing.

Which ones have you seen?
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Old 06-22-2008, 08:18 PM   #731
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YLB, that's good news! Lance, you do not need me to tell you to keep mining Allen's work.
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Old 06-22-2008, 08:23 PM   #732
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YLB, that's good news! Lance, you do not need me to tell you to keep mining Allen's work.
Indeed it is, I'll order it today.

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I've yet to see "I'm Not There".
Same here, but I'd love to check out about 5-6 of the ones I missed before moving onto other marathons. I end up calling them marathons, which is totally incorrect, I kind of shuffle back and forth between a set of films to watch and try to make sense of them. That way, I won't get sick of someone's work and keep everything fresh.

I'll try and balance Woody out (so excited!) with Scorsese, then do the '07 releases:

Diving Bell
Michael Clayton
I'm Not There
Eastern Promises
Youth Without Youth, among others with a '70s Sci-Fi marathon:

Silent Running
Logan's Run
The Omega Man
The Man Who Fell to Earth
Soylent Green
Planet of the Apes ('68, cheating a bit, but I need to revisit it)

And then go from there. What do you all think?
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Old 06-22-2008, 08:26 PM   #733
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I promise to seek out some more Allen if you both promise to make I'm Not There a priority.

How could you both have passed over last year's best picture?
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Old 06-22-2008, 08:27 PM   #734
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I promise to seek out some more Allen if you both promise to make I'm Not There a priority.

How could you both have passed over last year's best picture?
Done.
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Old 06-22-2008, 08:29 PM   #735
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Indeed it is, I'll order it today.



Same here, but I'd love to check out about 5-6 of the ones I missed before moving onto other marathons. I end up calling them marathons, which is totally incorrect, I kind of shuffle back and forth between a set of films to watch and try to make sense of them. That way, I won't get sick of someone's work and keep everything fresh.

I'll try and balance Woody out (so excited!) with Scorsese, then do the '07 releases:

Diving Bell
Michael Clayton
I'm Not There
Eastern Promises
Youth Without Youth, among others with a '70s Sci-Fi marathon:

Silent Running
Logan's Run
The Omega Man
The Man Who Fell to Earth
Soylent Green
Planet of the Apes ('68, cheating a bit, but I need to revisit it)

And then go from there. What do you all think?
Hard to argue with the first batch. Soylent Green I could not watch, cos I'd just think of Phil Hartman's imitation of it and crack up. Logan's Run was a great concept executed in a cheesy manner. Holds up poorly, but probably still worth watching. I love the original Planet of the Apes, and I told you about my mishap regarding the end of the film......I've yet to see Michael Clayton, either, damn me to hell.
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