Nosferatu feels like the movie Eggers has been building up to his whole filmography, and the talent he’s acquired all helped in achieving that vision, both on set and with VFX. Terrific film, can’t wait for his Labyrinth sequel.
It certainly feels like he’s building an unique troupe of collaborators that continuously create interesting films. Excited to see his take with that film!
He said himself that he tried to make it even before he made the VVitch, and he even recruited Bill Skarsgaard, but abandoned it because it was beyond him at the time.
This is one of the best behind the scenes breakdowns I’ve seen. Lots of great details and I love how you show the journey and lessons that were learned, as well as what feels like a more knowledgeable and authentic exploration of the filmmaking process.
This is one of the best cinematography breakdowns I have seen. Detailed, deep, and technical, but presented in a very clear way through your wording and visuals. I can tell you put a tremendous amount of time, thought, and effort into the research and presentation of this video. Quality work. Instant subscriber here. Thank you!
Thank you so much! I knew Blaschke was messing with spectral sensitivity curves and had the Kodak data sheets, but didn’t know if I could make that information interesting, let alone present it in an approachable way. I'm glad to hear it all came across, which was a bit of a worry when making the video.
It's so interesting to hear people speak about the techniques Eggers uses in these films as though he's created his own, never-before-used language. These are techniques that cinematographers and photographers have been using and exploiting for decades. Before digital, it was assumed that you had to know EVERYTHING about film stock, lighting, filtration, exposure etc. before you ever got a crack at doing anything yourself. I was a commercial architectural photographer for years and we had to know how to mix lighting in just about any scenario, on the fly. No Photoshop, no white balancing, no chimping. Very little has changed about how optics work over the decades.
This is the best film essay channel on UA-cam that I know about, and this video is a good example of why. The information is more deeply researched, the analysis is more revealing of the subject, and the presentation is excellent. If you decide to set up a Patreon, I'd be happy to donate a few dollars a month.
Subscribed. This is amazingly helpful. Thank you for the sheer cogency of this, it's ideally articulated, because it neither dumbs anything down, nor loses sight of the big picture. I love what this channel is doing. Keep it up.
Really kind of you to say! By the way, I noticed your detailed comments on the other videos, and just want to let you know how greatly appreciated it is. It’s extremely generous to provide such in-depth thoughts on our work, and comments like yours are the ones that really fuel us to keep at it. Literally was a bit of a highlight to our morning seeing such nice words of encouragement! Thank you so, so much! I don’t know if we can quite capture in a response how much your comment means!
I thought FW Murnau Version and Robert Eggers version of Nosferatu were both the best films of all time Max Schreck and Bill Skarsgard performance as Nosferatu was incredible both best actors so that’s why I think both films are my favourites and they are so good
You can definitely see the original’s influence on Eggers’ film, although I think he makes it his own in interesting ways. Is it a bit sacrilege to admit under a Nosferatu video that FW Murnau’s Sunrise may be my favorite? 😆
Such a good interview and excellent resource! Anyone who finds this video even remotely interesting - go watch this interview/listen to this podcast (as well as all the other discussions you’ve had). It’s literally full of valuable insights… One of the few people who got Blaschke to explain not only how he’s rating and processing his film, but more importantly why. Also the little conversation on black-and-white was so good!
Yeah, I know Blaschke’s been working on his night technique for quite some time, so thought it would make for an interesting video to break down that evolution. Glad you enjoyed it!
A few details are missing. If I understand it correctly, if you filmed digitally, you could simply delete the red channel, and apply the average of blue/green to it for a neutral tone, this would achieve the same "moonlight" look. The beauty of this technique lays in that the redness of fire/candles is not completely lost, and it will reappear when correcting the strong cyan shift from the filter in post. So in summary, you can have the realistic "moonlight" and warm lights side by side in the same shot creating a beautiful color contrast, which would otherwise be impossible.
After listening to a lot of Blaschke’s interviews - highly recommend @FrameAndReference interview which is towards the end of the video where they kind of get into just this - I don’t think he’d agree that the same outcome could be achieved digitally. To your point on mixing moonlight and fire, we covered this a bit in our first video mentioned around the midpoint of this one, but interestingly Blashke doesn’t use the ‘Scotopic’ filter for those scenes (precisely for the reason you bring up - he needs to keep a bit of that exposure in the red layer of film). He instead uses a subtler cyan filter on camera with gels on the lights. I was excited to see how he evolved this process for Nosferatu, so imagine my surprise to find that Blaschke actually doesn’t seem to like the mixed lighting at all, and avoids it whenever he can. In ASC Magazine he brings up this aversion and, when certain scenes required this look, he used Summer Blue gels on the lights. And in the Clubhouse Conversation interview he specifically chose to highlight scenes without mixed lighting except for one, where he again states his resistance to the look.
Blame youtube for willfully making its streaming quality worse, in order to push you towards subscribing to premium. Blame Susan Wojcicki for ruining youtube in general
Great video, really enjoyed that! Perhaps sometimes it was too technical for me (without providing an explanation) as a lay cinephile. Hope this channel gets big!
Thank you so much! Yeah, might have gone a bit deep on the more technical side on this one - we’ll keep it in mind for the future and perhaps slow things down a bit.
I always thought the night scenes from Jordan Peele’s Nope seemed the closest to how I see things at night. Was hoping more films would expand on that technique.
Jarin seems to be very technical, I think he has a case of the "engineer brain", his technical approach and posts on forums remind me of graphics and shader programming, complex and all in the pursuit of getting the right colors on the screen
It’s interesting that it’s not just Blaschke though. While researching for this vid, I was astounded how all of Eggers’ HODs approach their work this way. Could have literally done a deep dive into any one of them, and I think it would have made a fascinating video. Thanks for the comment!
It was on Focus’s landing page for the film - along with interviews with Blaschke, Craig Lathrop (production designer), and Linda Muir (costume designer) - all of which don’t appear to be up any longer. I’m sure they’ll upload it to their page in due time! They tend to get them up a while out from the film’s actual release.
I don’t know why, but I felt like Nosferatu looked much more fake in terms of lighting and special effects compared to The Witch or The Lighthouse. No one agrees?
Nosferatu feels like the movie Eggers has been building up to his whole filmography, and the talent he’s acquired all helped in achieving that vision, both on set and with VFX. Terrific film, can’t wait for his Labyrinth sequel.
It certainly feels like he’s building an unique troupe of collaborators that continuously create interesting films. Excited to see his take with that film!
And Werwulf
I am not so happy about Labyrinth (I won't believe it until I hear him talk about it), but Wrwulf... oh yeah!
I watched a video essay a few weeks ago about Nosferatu and Eggers’ career and they literally said the exact same thing lol
He said himself that he tried to make it even before he made the VVitch, and he even recruited Bill Skarsgaard, but abandoned it because it was beyond him at the time.
This breakdown is by far one of the best I've ever seen! Tremendous work!
Thank you! We’re glad you enjoyed it!
This is one of the best behind the scenes breakdowns I’ve seen. Lots of great details and I love how you show the journey and lessons that were learned, as well as what feels like a more knowledgeable and authentic exploration of the filmmaking process.
Thanks for not diminishing the VFX in the film. They're so well done!
Always got to shout out the VFX!
When you pulled out a photopic and scotopic comparison, I knew the writer of this episode must be a color scientist lol
This is one of the best cinematography breakdowns I have seen. Detailed, deep, and technical, but presented in a very clear way through your wording and visuals. I can tell you put a tremendous amount of time, thought, and effort into the research and presentation of this video. Quality work. Instant subscriber here. Thank you!
Thank you so much! I knew Blaschke was messing with spectral sensitivity curves and had the Kodak data sheets, but didn’t know if I could make that information interesting, let alone present it in an approachable way. I'm glad to hear it all came across, which was a bit of a worry when making the video.
@ nothing to worry about. You did great. 👍🏼
Great video. It's nice to get some actual information in a video. Looking forward to the next one.
Thank you so much! And yes, more are on the way.
One of the best looking films this decade
It's so interesting to hear people speak about the techniques Eggers uses in these films as though he's created his own, never-before-used language. These are techniques that cinematographers and photographers have been using and exploiting for decades. Before digital, it was assumed that you had to know EVERYTHING about film stock, lighting, filtration, exposure etc. before you ever got a crack at doing anything yourself. I was a commercial architectural photographer for years and we had to know how to mix lighting in just about any scenario, on the fly. No Photoshop, no white balancing, no chimping. Very little has changed about how optics work over the decades.
Excellent research and breakdown 👏
Thank you!
This is the best film essay channel on UA-cam that I know about, and this video is a good example of why. The information is more deeply researched, the analysis is more revealing of the subject, and the presentation is excellent.
If you decide to set up a Patreon, I'd be happy to donate a few dollars a month.
Awe, thanks for such a nice comment and yes, a Patreon is definitely something we’re thinking about!
This 👏 channel 👏 is 👏 awesome. 👏
Cannot be more stoked to see a new vid up.
Thanks! We hope to keep the videos coming more regularly.
Subscribed. This is amazingly helpful. Thank you for the sheer cogency of this, it's ideally articulated, because it neither dumbs anything down, nor loses sight of the big picture. I love what this channel is doing. Keep it up.
Really kind of you to say!
By the way, I noticed your detailed comments on the other videos, and just want to let you know how greatly appreciated it is. It’s extremely generous to provide such in-depth thoughts on our work, and comments like yours are the ones that really fuel us to keep at it. Literally was a bit of a highlight to our morning seeing such nice words of encouragement!
Thank you so, so much! I don’t know if we can quite capture in a response how much your comment means!
Brilliant deep dive into the night of this amazing film.
Thanks
Thanks!
THIS is what I want in UA-cam content and film breakdowns. Amazing insights here. Earned a subscriber from me.
Thank you so much!
I thought FW Murnau Version and Robert Eggers version of Nosferatu were both the best films of all time Max Schreck and Bill Skarsgard performance as Nosferatu was incredible both best actors so that’s why I think both films are my favourites and they are so good
You can definitely see the original’s influence on Eggers’ film, although I think he makes it his own in interesting ways.
Is it a bit sacrilege to admit under a Nosferatu video that FW Murnau’s Sunrise may be my favorite? 😆
@@fromtheframeI agree with you man the sunrise in the original Nosferatu where Orlok died was the best scene as well
Fantastic video! Thanks for referencing my chat with Jarin!
Such a good interview and excellent resource! Anyone who finds this video even remotely interesting - go watch this interview/listen to this podcast (as well as all the other discussions you’ve had). It’s literally full of valuable insights…
One of the few people who got Blaschke to explain not only how he’s rating and processing his film, but more importantly why. Also the little conversation on black-and-white was so good!
@@fromtheframe 🙏🙏🙏
Phenomenal vid, immediately subbed
Truly one of the most well researched and put together videos I’ve ever seen on UA-cam. Excited to sub and check out more
Yeah, I know Blaschke’s been working on his night technique for quite some time, so thought it would make for an interesting video to break down that evolution. Glad you enjoyed it!
Such an inspiring and educational video on the topic. Thank you!
Glad you enjoyed it!
A few details are missing. If I understand it correctly, if you filmed digitally, you could simply delete the red channel, and apply the average of blue/green to it for a neutral tone, this would achieve the same "moonlight" look. The beauty of this technique lays in that the redness of fire/candles is not completely lost, and it will reappear when correcting the strong cyan shift from the filter in post.
So in summary, you can have the realistic "moonlight" and warm lights side by side in the same shot creating a beautiful color contrast, which would otherwise be impossible.
After listening to a lot of Blaschke’s interviews - highly recommend @FrameAndReference interview which is towards the end of the video where they kind of get into just this - I don’t think he’d agree that the same outcome could be achieved digitally.
To your point on mixing moonlight and fire, we covered this a bit in our first video mentioned around the midpoint of this one, but interestingly Blashke doesn’t use the ‘Scotopic’ filter for those scenes (precisely for the reason you bring up - he needs to keep a bit of that exposure in the red layer of film). He instead uses a subtler cyan filter on camera with gels on the lights.
I was excited to see how he evolved this process for Nosferatu, so imagine my surprise to find that Blaschke actually doesn’t seem to like the mixed lighting at all, and avoids it whenever he can. In ASC Magazine he brings up this aversion and, when certain scenes required this look, he used Summer Blue gels on the lights. And in the Clubhouse Conversation interview he specifically chose to highlight scenes without mixed lighting except for one, where he again states his resistance to the look.
Love the love for the dept heads. Wish Eggers would get a screenwriter to make these exercises more than technical experiments.
Always love bringing attention to the amazing work that goes on behind the camera!
This was really impressive and an unexpected education. Thanks
Thanks so much that was a great video!!
Really well presented.
That first crossroads shot really stuck with me.
Yeah, that may be some of Blaschke’s best night work yet. Glad you enjoyed the video!
It would've been nice if this video was in 4K as the bit compression is ruining the shots whose cinematography is being praised.
Blame youtube for willfully making its streaming quality worse, in order to push you towards subscribing to premium. Blame Susan Wojcicki for ruining youtube in general
great breakdown and how it looks like we get a lot of moonlight in his next movie
Great video!
Great video! Congrats!
The village uses similar color methods.. loves it!
Wow! Really deep. The result of amazing research. Loved the discussion of color theory and how it can be manipulated for film. Thanks!
We didn’t know if we were going to lose people a bit with this one, so nice to know it’s connecting. Thanks for the kind words!
Really good video!
awesome video! thanks for going so in depth!
Great video, really enjoyed that! Perhaps sometimes it was too technical for me (without providing an explanation) as a lay cinephile. Hope this channel gets big!
Thank you so much! Yeah, might have gone a bit deep on the more technical side on this one - we’ll keep it in mind for the future and perhaps slow things down a bit.
I always thought the night scenes from Jordan Peele’s Nope seemed the closest to how I see things at night. Was hoping more films would expand on that technique.
Quality upload ❤
Thank you!
Jarin seems to be very technical, I think he has a case of the "engineer brain", his technical approach and posts on forums remind me of graphics and shader programming, complex and all in the pursuit of getting the right colors on the screen
It’s interesting that it’s not just Blaschke though. While researching for this vid, I was astounded how all of Eggers’ HODs approach their work this way. Could have literally done a deep dive into any one of them, and I think it would have made a fascinating video. Thanks for the comment!
I knew a lot went into lighting and stuff, but damn...
This is so interesting! Thanks for your work
some of the night scenes, particularly the beginning and at orlock's castle, remind me of joseph vargo 's art.
Great video, you got a new subscriber! Keep up the good work.
Thanks for the support! Glad you enjoyed the video.
I definitely felt like I had to go and do some research in order to be able to underhand this video. lol
Masterpiece!!
This night effect was produced by the modial interaction of magneto reluctance, and capacitive duractance.
Damn that was cool
@1:11 - I see what you did there. 🕯
Hey ! Where can I find the Bluebolt video seen at 11:02 ?
It was on Focus’s landing page for the film - along with interviews with Blaschke, Craig Lathrop (production designer), and Linda Muir (costume designer) - all of which don’t appear to be up any longer. I’m sure they’ll upload it to their page in due time! They tend to get them up a while out from the film’s actual release.
Where can i find full Bluebolt VFX Breakdown video?
I don’t know why, but I felt like Nosferatu looked much more fake in terms of lighting and special effects compared to The Witch or The Lighthouse. No one agrees?
6:37 Am I an idiot for thinking that was oil all three times I've seen the film?
No, you're not an idiot.
Not the worst movie but SMH 😒
This was superficial drivil, eggers should read a book if he wants to make art.
Please people go see this film. It's incredible and we need film to be back in Hollywood. No more f****** superheroes please God