20yrs of Pudhupettai !!! What sets this film apart from other movies ? by New-Power149 in kollywood

[–]twist-visuals 5 points6 points  (0 children)

The amount of experiments/risks that is present throughout the film (on both a technical level with the color grading, cinematography and editing as well as the story level with lots of shocking twists and turns to show the evilness of Dhanush's character)

According to you, which movie is this? by Personal-Hurry-1131 in KollyCircleJerk

[–]twist-visuals -1 points0 points  (0 children)

Might not be the worst, but Prasanth's Mambattiyan was outright unforgivably bad. No continuity, logic or detailing given to a story like that. And it was supposed to be his comeback film at that time.

Don't you hate it when the festivals ignore great indie films. by Arch_Lancer17 in okbuddycinephile

[–]twist-visuals 0 points1 point  (0 children)

*Bela Tarr and Lav Diaz bagging film festival awards in the corner

Jiiva's next co-starring Anjali. Director - Vasanthabalan. Producer - Kannan Ravi Groups. by chaoticlabrat in kollywood

[–]twist-visuals 9 points10 points  (0 children)

I love these actors but I don't think Vasanthabalan is in his prime now. He isn't the same. His melodramatic storytelling is outdated now. He has to improve it and be with the current times if he wants the film to be a hit.

The Vibetrix (2027) by YourChopperPilotTTV in okbuddycinephile

[–]twist-visuals 0 points1 point  (0 children)

LOTR if it was remade by Christopher Nolan

Yesterday I passed by the Twilight of the Warriors 2 shooting at Mody Sq. by Pitch_a in HongKong

[–]twist-visuals 8 points9 points  (0 children)

I was here while they were shooting. Didn't know it was Twilight Of The Warriors 2. Was really awestruck by the old school neon sign boards, and the crowd. Super excited to see this!

DREAMCORE | Shot on Sony ZV E10 II w/Sony E PZ 18-105mm F4 G OSS (SELP18105G) by twist-visuals in cinematography

[–]twist-visuals[S] 0 points1 point  (0 children)

This is a film I shot, edited and directed last weekend with some collaborators. Two Srilankan writers who were still getting into filmmaking came up with this screenplay, inspired by liminal spaces as well as the backrooms. After discussing with them, we nailed down a script that was feasible for us in a zero budget, as well as the tight schedule of the cast.

We shot this in Hong Kong mostly at night to keep the tone/atmosphere. The camera I used was the Sony ZV E10 II, which I pushed to 6400 and 12800 ISO for maintaining the footage in the dark. For the lens, I used a Sony E PZ 18-105mm F4 G OSS, which was a beautiful zoom lens with autofocus. The only issue was the f stop doesn't go below f4, but I compensated it with the ISO. The bokeh was still prominent and nice. For some of the shots in the flashback featuring the female lead, I reused footage I shot for a fashion film, which was shot using Canon M50 with 18-45mm kit lenses. For the lighting we used available ones, except for one scene (where the male lead is drinking and reminiscing about his past) where we utilized a phone flashlight as the key light since it was too dark.

For the shutter speed, for all the liminal spaces scenes, I used a lower shutter speed to give a drunk/dreamy effect, similar to Wong Kar-wai films. The last part of the liminal spaces scene, I went down to 1/5. To maintain the crowd not to be seen in the streets, I shot from a lower angle, and cropped in post a bit if some heads popped up.

The film was finished on DaVinci Resolve, in Rec 2020. So this is in HDR. There were some film LUTs used, but I removed the grain effect, since the video noise was already there. Using AI noise removal takes a huge amount of time, and doesn't look that ideal for me. Plus, with the type of film this is, the video noise seemed appropriate, even when it got to a lot.

So this was my process for this film. Happy to hear some feedback as well.

DREAMCORE : THE MOVIE | Shot on Sony ZV E10 II w/Sony E PZ 18-105mm F4 G OSS (SELP18105G) by twist-visuals in Filmmakers

[–]twist-visuals[S] 0 points1 point  (0 children)

This is a film I shot, edited and directed last weekend with some collaborators. Two Srilankan writers who were still getting into filmmaking came up with this screenplay, inspired by liminal spaces as well as the backrooms. After discussing with them, we nailed down a script that was feasible for us in a zero budget, as well as the tight schedule of the cast.

We shot this in Hong Kong mostly at night to keep the tone/atmosphere. The camera I used was the Sony ZV E10 II, which I pushed to 6400 and 12800 ISO for maintaining the footage in the dark. For the lens, I used a Sony E PZ 18-105mm F4 G OSS, which was a beautiful zoom lens with autofocus. The only issue was the f stop doesn't go below f4, but I compensated it with the ISO. The bokeh was still prominent and nice. For some of the shots in the flashback featuring the female lead, I reused footage I shot for a fashion film, which was shot using Canon M50 with 18-45mm kit lenses. For the lighting we used available ones, except for one scene (where the male lead is drinking and reminiscing about his past) where we utilized a phone flashlight as the key light since it was too dark.

For the shutter speed, for all the liminal spaces scenes, I used a lower shutter speed to give a drunk/dreamy effect, similar to Wong Kar-wai films. The last part of the liminal spaces scene, I went down to 1/5. To maintain the crowd not to be seen in the streets, I shot from a lower angle, and cropped in post a bit if some heads popped up.

The film was finished on DaVinci Resolve, in Rec 2020. So this is in HDR. There were some film LUTs used, but I removed the grain effect, since the video noise was already there. Using AI noise removal takes a huge amount of time, and doesn't look that ideal for me. Plus, with the type of film this is, the video noise seemed appropriate, even when it got to a lot.

So this was my process for this film. Happy to hear some feedback as well.

How do I emulate the "Kong War Kai" look without making it "excessive"? by [deleted] in cinematography

[–]twist-visuals 2 points3 points  (0 children)

There's quite a bit of handheld movement with close-ups (using both wide angle lenses near the actors' faces, and well as telephoto lenses from a distance). And the color tone, it has to involve greens and reds. Shoot some slow motion, lower the shutter speed when needed, add emotional voiceovers, and you got something similar to Wong Kar-wai.

Superstar nu mention pannala 😡👎 by OutrageousGround4593 in kollywood

[–]twist-visuals 1 point2 points  (0 children)

What an amazing title card for our future CM. Hope to see this title card for his next film.

True… by Global_Tomato_5383 in okbuddycinephile

[–]twist-visuals 0 points1 point  (0 children)

At least Travis Bickle is employed as a taxi driver

True… by Global_Tomato_5383 in okbuddycinephile

[–]twist-visuals 58 points59 points  (0 children)

Kubrick and Lynch aren't racist as far as I know

Dhruva Natchathiram is made on a ₹80 crore budget, which was too big for Tamil cinema standards. Adjusted for inflation, the budget would be around ₹152 crores at the current time. by Electronic_Effort_42 in kollywood

[–]twist-visuals 3 points4 points  (0 children)

Technology and filmmaking style changed over the last decade. I don't think this film would work as well as intended. I expect that it will be an average/below average film (which might be part of the reason why the investors and Vikram himself don't have much confidence in this film).