![putlocker ghost in the shell 2017 online putlocker ghost in the shell 2017 online](https://i.ytimg.com/vi/tRkb1X9ovI4/maxresdefault.jpg)
Hall and his team used the Codex Vault for streamlined and bullet-proof data management. Two ALEXA Minis with slightly different lenses were occasionally used in a rig to create a glitchy cyborg POV look with subtle perspective shifts. The Ghost in the Shell production at one point had more ALEXA 65s than any other shoot. “That’s where the right lensing helps by making things a little more cosmetic.” “The danger with the very sharp image is that you begin to see stuff you might not want to see,” says Hall. The large format and rich image dovetailed nicely with the filmmakers’ desire for longer, more classical shots that develop. This approach captures less top and bottom margin, but Hall knew he could precisely control framing. And it made the difference between an affordable format and an unaffordable format.” In testing, it felt like we were getting more image in 1.85. I wanted to frame in 1.85 anyway, because anime is always 1.85, and Hong Kong is such a vertical city. “So my idea was to shoot in 5-perf 65 mode, which records in 1.78:1.
Putlocker ghost in the shell 2017 online movie#
“We originally thought we’d shoot certain scenes on the 65, but once we started testing, it felt like we wanted to shoot 90% of the movie that way,” says Hall. The ARRI ALEXA 65 was set to capture data at a rate closer to 5K, which saved about a third on data wrangling and associated costs. In the bigger format, the 29 mm is roughly equivalent to a 19 mm in 35 mm. This lens, the only one of its type in the world, became a very effective lens for us.”
![putlocker ghost in the shell 2017 online putlocker ghost in the shell 2017 online](https://cdn.moviefone.com/admin-uploads/posters/power-poster_1490296746.jpg)
The correct perspective – flatter, and wide angle, with a wide field of view but without distortion – was important so I asked Dan Sasaki at Panavision to build a 29 mm that could accommodate the 65mm format. “At the same time, I needed very high speed and high performance lenses, because we planned to shoot in Hong Kong at night using a lot of available lighting. “In manga, there’s a certain painterly quality as well as a certain kind of bloom or halation around highlights,” he says. He also collaborated closely with Panavision to tailor the Sphero 65 lenses.
He exerted an unprecedented degree of control over colour, working with lighting manufacturers to develop customized lighting tools, and often “timing” the movie on the set by manipulating the output of LED fixtures. Hall compared the colour, patina and texture of the source material to watercolor painting. “The large format came out of our need for something subtle and sophisticated enough to rival film in terms of colour reproduction, and the spatial resolution to work with all the different distribution types.” “We were looking for imagery that paid homage to the visual quality of the anime, but that also worked for what we were doing – a movie,” says Hall. The production worked mostly in Hong Kong and at Stone Street Studios in New Zealand. Originally a human, during the course of the movie she relentlessly tries to recover her past, find out who transformed her and stop them from doing it to others. She’s the first of her kind – a cyber-enhanced soldier designed to stop the worst criminals and terrorists. This time around, however, Sanders and Hall settled on an approach that combined large format digital cinematography, distinctive lenses, and a very controlled approach to colour.īased on the internationally acclaimed Japanese Manga, “The Ghost in the Shell”, the movie stars Scarlett Johansson as Major. For his second feature, Ghost in the Shell, Sanders has teamed with Jess Hall BSC, whose resume includes a number of distinctive features shot on film, including Transcendence, The Spectacular Now, Creation and Brideshead Revisited. Sanders’s feature debut was photographed by Greig Fraser ASC ACS, who made extensive use of film emulsion on the project, including a significant number of scenes shot in 65 mm film format. Rupert Sanders made a bold opening move with the visually elegant Snow White and the Huntsman.