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What's up with the overexposed stuff Quentin ?

I've seen Django and I felt like every fucking scene had way too much elements that were overexposed. Books, guns, skies and other things I don't remember, there just was too many of them that it left me wondering if it was intentional.

Last I heard, QT shoots on film which is supposed to have a high dynamic range, so what's up with that ?
 
lol i honestly have no clue what you're talking about. The lighting was incredible, and if you didn't find django entertaining you must have taken some ambien before the movie
 
An example of what he's talking about starts at 2:11, with "Well, he is a rambunctious sort, ain't he." The sky's blown/halo'd out on the upper-right.

Dunno if it's deliberate or not. Would have to watch the film to see if it matches the rest of the style choices, I guess. :lol:
 
Yeah, interesting. I'd have to see the movie to comment too much about it. It's all 35mm so the detail was likely there, and they certainly had a budget for lighting etc. so it seems to me to be more of a stylistic choice.
 
An example of what he's talking about starts at 2:11, with "Well, he is a rambunctious sort, ain't he." The sky's blown/halo'd out on the upper-right.

Dunno if it's deliberate or not. Would have to watch the film to see if it matches the rest of the style choices, I guess. :lol:

Yes that kind of stuff. I think it's somewhat stylistic because Reservoir Dogs had that halo and Pulp Fiction a little bit too. But this time, it was just too much for me that it distracted me.

Concerning the movie... well :bang:. It's just Inglorious Basterds all over the place with even less discontinuity and dialogue and fun.
 
I've seen Django and I felt like every fucking scene had way too much elements that were overexposed. Books, guns, skies and other things I don't remember, there just was too many of them that it left me wondering if it was intentional.

Django was shot by Bob Richardson, so of course it is intentional. If Bob has one characteristic stylistic signature it is over-exposuring parts of the frame. You see it as early as JFK and through the recent Shutter Island. In Django it is a conscious choice, I think, to replicate the look and feel of the sixties blackploitation films that Tarantino freely admits was the inspiration of Django. Film stocks in the sixties had a much more limited contrast range and so highlights had a tendency to overexpose. I think Richardson & Tarantino capture that feel really well in the high contrast opening night scene.

Paul Dean
 
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