Tuesday, 9 February 2016

The Man From Uncle :Budget Vs. Box Office Comparison

Box office / business forThe Man from U.N.C.L.E. (2015) 

Budget
$75,000,000 (estimated)
Opening Weekend
$13,535,000 (USA) (17 August 2015)
$13,535,000 (USA) (16 August 2015) (3,638 Screens)
Gross
$45,372,659 (USA) (11 October 2015)
$45,256,316 (USA) (4 October 2015)
$45,049,134 (USA) (27 September 2015)
$44,531,628 (USA) (20 September 2015)
$43,101,801 (USA) (13 September 2015)
$39,374,148 (USA) (6 September 2015)
$34,142,762 (USA) (30 August 2015)
$26,534,214 (USA) (23 August 2015)
$13,535,000 (USA) (16 August 2015)
$109,645,109 (Worldwide)
Weekend Gross
$59,729 (USA) (11 October 2015) (158 Screens)
$130,405 (USA) (4 October 2015) (266 Screens)
$203,929 (USA) (27 September 2015) (323 Screens)
$754,274 (USA) (20 September 2015) (955 Screens)
$1,871,347 (USA) (13 September 2015) (1,656 Screens)
$3,445,000 (USA) (6 September 2015) (2,102 Screens)
$4,431,136 (USA) (30 August 2015) (2,706 Screens)
$7,317,374 (USA) (23 August 2015) (3,673 Screens)
$13,535,000 (USA) (16 August 2015) (3,638 Screens)
Filming Dates
9 September 2013

Technological specifications

Technical Specifications

Runtime1 hr 56 min (116 min)
Sound Mix |  |  | 
Color
Aspect Ratio2.35 : 1
CameraArri Alexa XT Plus, Panavision E-Series, Zeiss Super Speed and Cooke Varotal Lenses
Canon EOS 5D Mark II
Canon EOS C500, Panavision E-Series and Zeiss Super Speed Lenses
GoPro Hero 3+ Black
LaboratoryTechnicolor, London, UK (digital intermediate) (dailies)
Negative FormatCodex
Cinematographic ProcessARRIRAW (2.8K) (source format)
Canon RAW (4K) (source format) (some scenes)
Digital Intermediate (2K) (master format)
Panavision (anamorphic) (source format)
Printed Film Format35 mm (Kodak Vision 2383)
D-Cinema

The Digital Technology and special effects Used In The Film as Explained by John Mathieson

John Mathieson BSC Brings To Life… The Man From U.N.C.L.E




Two-time Oscar nominee John Mathieson BSC (Gladiator, The Phantom of the Opera, Robin Hood, 47 Ronin) recently completed work on The Man from U.N.C.L.E., an update of the stylish 1960s television series of the same name. The new film is an action-comedy in which Napoleon Solo (Henry Cavill) and Illya Kurykin (Armie Hammer) work to foil an atomic plot.


Regarding the film’s aesthetic, Mathieson says, “It’s definitely got that British invasion, early Bond sensibility – 60s pop art, a lot of plastic and polyester. Low-end technology, but good, futuristic ideals, and a good sense of design. The colours are very bold and synthetic, with E-type Jaguars and A-frame dresses. This film is kind of comic strip. At times we even split the frame. It’s slightly quirky.”

Directed by Guy Ritchie, The Man from U.N.C.L.E. was Mathieson’s second feature film foray into full digital cinematography. He enlisted top digital imaging technician Francesco Giardiello to help devise the workflow. 

“Now that the Codex is internal, in the camera where it should be, you don’t have the extra lump to carry around with you,” Mathieson says. “I know my crew – the ACs and the DIT – liked it. I’m more interested, of course, in the sensor. Frankly, I don’t care how it gets down the line, as long as it works.”

Mathieson says that he would have preferred to shoot film, but that the demise of some of the major film laboratories in the U.K. made it impossible. He did shoot a little bit of 16mm film on a wind-up Bolex (processed at Bucks Laboratories) for the opening of the film, to bridge some archival footage from the period with the main storyline. In some ways, the colours and textures of the period production design lent themselves to digital, he says. 

“Things were so boldly graphic, and slightly hyper-real at that time, so I rolled with it,” Mathieson says of the decision to shoot digital. “It’s quite ‘up’ and colourful. I applied myself to the job. It’s an echo of those times. I certainly tipped my hat to the painters – Warhol and Lichtenstein – and filmmakers of that time.”



He mentions classics of 1960s cinema such as Grand Prix (1966; cinematography by Lionel Lindon ASC), The Ipcress File (1965; Otto Heller BSC), and Billion Dollar Brain (1967; Billy Williams, BSC). In Grand Prix, John Frankenheimer made memorable use of the split frame technique. 

Fittingly for this Cold War-era tale, the optimistic and opulent tones of the West are contrasted by drab dinginess in the Soviet-dominated East. Meanwhile, Solo and Kurykin bicker about the relative merits of decadent capitalism and communism. Later, the scene changes to 1960s Rome, another playground for Oliver Scholl’s production design and Mathieson’s frame.

The aspect ratio was 2.40:1. The digital sensor made it easy for Mathieson to work with a wide range of lenses, including E-series Panavision anamorphics, anamorphic zooms, longer spherical zooms, and a Technovision conversion of an older Cooke lens that delivered lots of flares and blooming. Zooming within shots was considered part of the 60s flavour, as was a bit of vignetting at the edges, which was reasonably consistent in the longer focal lengths. Whatever the lens, the final image maintained the 2.40 frame. 

The Man from U.N.C.L.E. would require a workflow that would accommodate multiple sources, formats, and resolutions. Giardiello’s charge was to provide maximum image quality without unduly burdening the filmmakers, and to move toward a common colour space for the accurate development of the look of the movie. The colour pipeline and workflow was based on a “classic” 10-bit RGB Log-C to P3/709 conversion, plus custom integration. “I needed to create a workflow able to accommodate both flat and scope image formats, and a range of cameras,” says Giardiello. “We had to be able to put cameras everywhere, and overcrank if needed. This included aerial shots, underwater shots, body/car/bike rigs, et cetera, all running together. That meant a multitude of different colour/data pipelines that, without this workflow, we would have had to match and change on a shot-by-shot basis,
every day. 

“Since John decided to go with the ALEXA/ARRIRAW as the main camera/recording format, we chose the ALEXA M as the option for the aerial units, and the GoPro Hero 3 for some very specific ‘hidden camera’ action shots,” he says. “Then, for a couple of situations, we added a Canon 5D because we needed a small underwater camera setup with which we could still mount ‘proper’ lenses. In other situations, a Canon C500 with a Codex S recorder was used.”

Working with the Technicolor colour science department and Paul Ensby, Mathieson’s longtime colourist, the team generated a colour pipeline which was mainly based on the following three elements: an input LUT, when needed, for non-LOG-C sources; an ASC CDL (colour decision list), to define the look; and an output LUT, to better define look and the overall density and to establish the gamma/colour space. Standard ASC CDL values that Giardiello generated on set shot-by-shot were introduced into the pipeline and baked into the dailies and later, used in VFX and for the DI as a starting reference.




“We used a live, one-light grading system based on ASC-CDL values that allowed John to define his look from the set in a very accurate, but simple way,” Giardiello says. “It allowed John to fully convey his artistic intentions to the director and producers immediately, on-set. He could trust that the dailies would be as he intended without having to spend additional time after a long day of work, and he could build his cinematography using the on-set grading as an additional tool, as he would a light, a gel filter, a flag or camera movement. It’s a harmony that has been created not just to make things quicker, but to make them better.”

Giardiello has used Codex on every job for the past five years. “Codex has always guaranteed me a solid, fundamental and unrivalled instrument for my job,” says Giardiello. “Capturing ARRIRAW on Codex allowed us even more flexibility on The Man from U.N.C.L.E. Through Codex we customised and integrated different pipelines. We created an extremely solid and reliable colour pipeline, and also it allowed us to add our custom CAMERA FORMAT metadata field that defined how the many input sources would to be handled in post, smoothing out the various procedures needed to conform the movie.”

The DI was done at Technicolor in London with Ensby. “Paul has a light touch,” says Mathieson. “He’s got a very sensitive eye, and he doesn’t go to extremes, pulling things apart. I feel that when you do a DI, it should be like a piece of music, with rhythm. If you noodle with every shot, you’ll destroy all the caricature and imperfection in it, and it becomes normal. Imperfections give you your look as a DP. The danger of the moment is that there’s so much photography that looks the same. So much CGI work goes in, which has a certain look. 

“There’s an expression: imperfection is the essence of music,” he says. “You did what you thought was right on the set, at 3 o’clock in the morning. It might not be great but it was bold and it was instinctive and you were there at the time. It had a feel. Stay with that. I feel that’s a better way to go, and I enjoy that more.”

Mathieson is currently shooting Knights of the Roundtable: King Arthur with Guy Ritchie using Codex recording and media. Giardiello is the DIT. Mathieson credits Codex with bringing some order to the chaos in digital filmmaking workflows. 

“With film, we had a universal standard that worked,” Mathieson says. “With digital, there have been a lot of people driving wedges between us. It’s really alarming when things bounce all over the place. Codex said, ‘Enough of this nonsense.’ What we need is a common language. Codex has come forward as a standard, whichever camera you’re on.

Wednesday, 3 February 2016

The Production Companies:RatPac-Dune Entertainment/360 films

RatPac-Dune Entertainment

From Wikipedia, the free encyclopedia
RatPac-Dune Entertainment, LLC
Formerly called
Dune Entertainment
Private
IndustryMotion pictures financing company
Founded2006; 10 years ago (in Los Angeles, California)
Founder
HeadquartersLos Angeles, California
Area served
Worldwide
Key people
Divisions
  • Dune Entertainment, LLC
  • Dune Entertainment II, LLC
  • Dune Entertainment III, LLC
RatPac-Dune Entertainment or RatPac Entertainment, is an American motion picture financing company formed in a merger by producer-director Brett Ratner, his partner billionaire James Packer, and Dune Entertainment's Steven Mnuchin, which provides funds to a number of Warner Bros. films.[2][3][4][5] The company is the result of a 2013 merger between RatPac Entertainment and Dune Entertainment, following a collapse in negotiations between Dune and 20th Century Fox – which led the company to close a deal with Warner Bros. instead, replacing Legendary Pictures as Warners' key co-financing partner.[2][5][6] Dune had been co-financing Fox films since 2006.

Films[dit]e

Tuesday, 2 February 2016

The Production Companies:Davis Entertainment

Davis Entertainment

From Wikipedia, the free encyclopedia
Davis Entertainment is an American independent film production company, founded by John Davis in 1984.
Davis's three divisions–-feature film, independent film, and television-–develop and produce film and television projects for the major studios, independent distributors, networks and cable broadcasters. The Company has enjoyed a long-standing first-look production deal at 20th Century Fox, though also produces projects for all studios and mini-majors.

Filmography[edit]

  • Predator (1987)
  • License to Drive (1988)
  • Little Monsters (1989)
  • Curiosity Kills (1990) (TV movie)
  • Dangerous Passion (1990) (TV movie)
  • Silhouette (1990) (TV movie)
  • The Last of the Finest (1990)
  • Predator 2 (1990)
  • Shattered (1991)
  • Storyville (1992)
  • This Can't Be Love (1994) (TV movie)
  • Gunmen (1994)
  • Tears and Laughter: The Joan and Melissa Rivers Story (1994) (TV movie)
  • New Eden (1994) (TV movie)
  • Richie Rich (1994)
  • The Hunted (1995)
  • Waterworld (1995)
  • Denise Calls Up (1996)
  • The Chamber (1996)
  • Daylight (1996)
  • Out to Sea (1997)
  • Asteroid (1997) (TV movie)
  • Volcano: Fire on the Mountain (1997) (TV movie)
  • Miracle at Midnight (1998) (TV movie)
  • Dr. Dolittle (1998)
  • The Jesse Ventura Story (1999) (TV movie)
  • Dudley Do-Right (1999)
  • Little Richard (2000) (TV movie)
  • Heartbreakers (2001)
  • Dr. Dolittle 2 (2001)
  • Behind Enemy Lines (2001)
  • Life or Something Like It (2002)
  • Daddy Day Care (2003)
  • Paycheck (2003)
  • Garfield (2004)
  • I, Robot (2004)
  • Alien vs. Predator (2004)
  • First Daughter (2004)
  • Fat Albert (2004)
  • Flight of the Phoenix (2004)
  • Nadine in Date Land (2005) (TV movie)
  • Life is Ruff (2005) (TV movie)
  • When a Stranger Calls (2006)
  • Dr. Dolittle 3 (2006)
  • Garfield: A Tail of Two Kitties (2006)
  • Jump In (2006) (TV movie)
  • Eragon (2006)
  • Norbit (2007)
  • Daddy Day Camp (2007)
  • The Heartbreak Kid (2007)
  • Garfield Gets Real (2007)
  • Aliens vs. Predator: Requiem (2007)
  • The Express (2008)
  • Dr. Dolittle: Tail to the Chief (2008)
  • Garfield's Fun Fest (2008)
  • Dr. Dolittle: Million Dollar Mutts (2009)
  • Garfield's Pet Force (2009)
  • Marmaduke (2010)
  • Predators (2010)
  • Gulliver's Travels (2010)
  • Locke & Key (2011) (TV pilot)
  • Mr Popper's Penguins (2011)
  • A Little Bit of Heaven (2011)
  • Chronicle (2012)
  • The Blacklist (2013–present) (TV series)
  • Ironside (2013) (TV series)
  • Devil's Due (2014)
  • The Man from U.N.C.L.E (2015)
  • The Player (2015) (TV series)
  • Dr. Ken (2015) (TV series)
  • Victor Frankenstein (2015)
  • Joy (2015)

Upcoming

Highest-grossing films

Highest-grossing films
RankTitleYearDomestic grossNotes
1I, Robot2004$144,801,023Co-produced by Overbrook Entertainment
2Dr. Dolittle1998$144,156,605Co-produced by Friendly Films
3Dr. Dolittle 22001$112,952,899
4Daddy Day Care2003$104,297,061Co-produced by Revolution Studios
5Norbit2007$95,673,607Co-produced by DreamWorks Pictures and Tollin/Robbins Productions
6Waterworld1995$88,246,220Co-produced by Gordon Company and Licht/Mueller Film Corporation
7Alien Vs. Predator2004$80,282,231Co-produced by Brandywine Productions
8Garfield: The Movie2004$75,369,589Co-produced by Paws, Inc.
9Eragon2006$75,030,163
10Mr. Popper's Penguins2011$68,224,452Co-produced by Dune Entertainment

Tuesday, 19 January 2016

The Man from U.N.C.L.E. (film) (basic information)


The Man from U.N.C.L.E. (film)

From Wikipedia, the free encyclopedia
For the original 1960s TV series, see The Man from U.N.C.L.E..
The Man from U.N.C.L.E
The Man from U.N.C.L.E. poster.jpg
Theatrical release poster
Directed byGuy Ritchie
Produced by
Screenplay by
  • Guy Ritchie
  • Lionel Wigram
Story by
Based onThe Man from U.N.C.L.E.
by Ian FlemingNorman Felton and Sam Rolfe
Starring
Music byDaniel Pemberton
CinematographyJohn Mathieson
Edited byJames Herbert
Production
company
Distributed byWarner Bros. Pictures
Release dates
  • August 7, 2015(London premiere)
  • August 14, 2015(United States & United Kingdom)
Running time
116 minutes[1]
CountryUnited States
LanguageEnglish
Russian
German
Italian
Budget$75 million[3]
Box office$109.6 million[4]
The Man from U.N.C.L.E. is a 2015 American action comedy adventure spy film directed by Guy Ritchie, and co-written by Lionel Wigram and Ritchie, based on the 1964 MGM television series of the same name, which was created by Ian Fleming, Norman Felton and Sam Rolfe. The film stars Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki with Jared Harris and Hugh Grant. The film premiered at London on August 7, 2015 and was released on August 14, 2015 by Warner Bros. Pictures. The film received generally positive reviews from critics, and grossed over $109 million worldwide on a $75 million budget. It also received a COFCA Award nomination for Actor of the Year and Breakthrough Film Artist. The Man from U.N.C.L.E. was released on DVD and Blu-ray on November 17, 2015 by Warner Home Video.


Plot

In 1963, professional thief turned CIA agent Napoleon Solo extracts Gaby Teller, daughter of Udo Teller, an alleged Nazi scientist turned United States collaborator at the end of World War II, from East Berlin, evading KGB operative Illya Kuryakin. He later reports to his superior, Saunders, who reveals that Teller’s uncle Rudi works in a shipping company owned by Alexander and Victoria Vinciguerra, a wealthy couple of Nazi sympathizers who intend to use Teller's father to build their own private nuclear weapon. Due to the potentially world-ending nature of this crisis, the CIA and KGB have reluctantly teamed up and Solo and Kuryakin are ordered to stop the Vinciguerras from succeeding, with both men secretly assigned to steal Udo Teller's research for their respective governments.
The trio travels to Rome, where Teller and Kuryakin pose as an engaged couple and Solo as an antiquities dealer. Solo deduces they are being monitored and instructs Kuryakin not to react to provocation so as to preserve this cover. Despite their hostilities towards each other, Kuryakin heeds his advice and does not react when his father’s prized watch is stolen. Later, at an auto racing event promoted by the Vinciguerras, Solo and Teller take turns flirting with the host couple to lure out information about Teller's father, while Kuryakin acquires evidence the Vinciguerras were recently exposed to radiation, indicating that their weapon is near completion.
Solo and Kuryakin begrudgingly join forces to break into a Vinciguerra shipping yard, in which they find traces of uranium. After accidentally setting off the alarm, they escape into the water only to find their way blocked. During the ensuing scuffle with the guards, Kuryakin nearly drowns in the waters but is saved by Solo. Although a suspicious Victoria pursues them with her henchmen, Solo and Kuryakin manage to slip past into their own rooms undetected, and Victoria and Solo spend the night together. The following day, Teller meets with Rudi and Alexander to discuss a job but unexpectedly betrays Kuryakin to them, forcing him to escape, while Solo is sedated and captured by Victoria and taken to a nearby warehouse to be tortured by Rudi. Solo is saved by Kuryakin, allowing Rudi to reveal that the weapon is hidden in an island fortress, where Teller has been reunited with her father. Udo pretends to resume work on the weapon to protect her, which has a secondary decoy that can home in on it for added impact, but although Teller attempts to help her father escape and sabotage the warhead, Victoria discovers the deception and kills him.
Meanwhile, Solo and Kuryakin are approached by Alexander Waverly, a high-ranking MI6 operative who reveals that Teller is an undercover agent under his employ. He and his Royal Marines help Solo and Kuryakin infiltrate the Vinciguerras’ compound. Alexander Vinciguerra attempts to escape with Gaby Teller and the warhead, but is intercepted and killed by the duo. However, the warhead Vinciguerra was taking with him was the decoy, allowing Victoria to leave undetected on another boat with the real one. Solo is able to contact her via radio and keep her on the line long enough for Waverly to locate her and launch the homing decoy, simultaneously destroying the weapon and the boat, taking Victoria with it, while Solo retrieves the disc with Teller’s father’s research.
Kuryakin confronts Solo in his hotel room, intending to kill him and steal the disc, but changes his mind when Solo produces his father’s watch, which he had retrieved. The two share a drink on the terrace and burn the contents of the disk, so as to not give either of their countries the upper hand in the arms race. They then reunite with Teller and Waverly, who reveals that the trio has been reassigned to a new international organization under his command. He then deploys them on a new mission in Istanbul under their new codename: U.N.C.L.E.

Cast

  • Henry Cavill as Napoleon Solo
  • Armie Hammer as Ilya Kuryakin
  • Alicia Vikander as Gabriella "Gaby" Teller
  • Elizabeth Debicki as Victoria Vinciguerra
  • Jared Harris as Saunders
  • Hugh Grant as Alexander Waverly
  • Luca Calvani as Alexander Vinciguerra
  • Sylvester Groth as Uncle Rudi
  • David Menkin as Jones
  • Simona Caparrini as Contessa
  • Misha Kuznetsov as Oleg
  • Christian Berkel as Udo Teller
  • David Beckham as Projectionist

Production

Development

Producer John Davis optioned the film rights to the 1960s TV series in 1993, setting up a development deal for an adaptation with Warner Bros. and series producer Norman Felton. Davis has estimated that he commissioned 12 or 14 different scripts over the course of 20 years, with writers Jim and John Thomas, John Requa, Glenn Ficarra, and Scott Z. Burns. Quentin Tarantino was briefly attached following the success of Pulp Fiction, but opted to make Jackie Brown instead. The Man from U.N.C.L.E. continued to labor in development hell with directors Matthew Vaughn and David Dobkin. Steven Soderbergh was attached to direct Scott Z. Burns' screenplay, with production slated to begin in March 2012. Executives from Warner Bros. wanted the budget to stay below $60 million, but Soderbergh felt that amount would not be adequate to fund the 1960s-era sets, props, and international settings required for the film. Emily Blunt was nearly cast as the female lead, but Soderbergh departed in November 2011.
Guy Ritchie signed on in March 2013. On July 31, 2013, it was announced that Ritchie's adaptation would start filming in September 2013 in London and Italy. The final production budget was approximately $75 million US.

Casting

In November 2010, George Clooney showed interest in the film, and was in talks for the lead role of Napoleon Solo, but he left in September 2011 due to a recurring back injury. After Clooney's departure, actors including Joseph Gordon-LevittRyan GoslingChanning TatumAlexander SkarsgĂ„rdEwan McGregorRobert PattinsonMatt DamonChristian BaleMichael FassbenderBradley CooperLeonardo DiCaprioJoel KinnamanRussell CroweChris PineRyan Reynolds, and Jon Hamm were considered for the lead role.On March 18, 2013, Tom Cruise was in early talks to take the lead in the film. Armie Hammer was cast in the second lead role as Illya Kuryakin on April 24, 2013, with Cruise set as Solo. Hammer's paternal great-grandmother was Russian-born actress and singer Olga Vadimovna Vadina (aka Von Root), the daughter of a tsarist general. His paternal Great-Grandfather, Armand Hammer was an American business manager and owner, most closely associated with Occidental Petroleum, a company he ran from 1957 until his death, though he was known as well for his art collection, his philanthropy, and for his close ties to the Soviet Union. Swedish actress Alicia Vikander joined the film on May 8, 2013, as the female lead. On May 23, 2013, Cruise dropped out of the film, due to his commitment to Mission: Impossible – Rogue Nation. British actor Henry Cavill replaced Cruise. Elizabeth Debicki was cast in a femme fatale role on July 31, 2013; Rose Byrne and Charlize Theron were earlier considered for the same part. On August 8, 2013, Hugh Grant joined the cast as Alexander Waverly, the head of United Network Command for Law and Enforcement (U.N.C.L.E). Jared Harris was cast as Saunders on September 4, 2013, and Luca Calvani was cast as a villain, Alexander. Simona Caparrini was also cast to play Contessa.

Filming

Principal photography on the film commenced on September 9, 2013. In October 2013, filming was being under way at the Old Royal Naval College in Greenwich, Royal Victoria Docks, London and Goodwood Motor Racing Circuit in West Sussex, UK.
Filming took place in various locations throughout Italy, including the Gulf of Naples, and Baiae Castle. Kuryakin and Teller's first outings as an assumed couple were shot at just below the Spanish Steps; the Grand Hotel Plaza, in Via del Corso; and in the gardens of antic Theater of Marcellus.
Two locations stood in place for Berlin sites on either side of the wall: the public toilet fight between Solo and Kuryakin was shot in Regent's Park in London, while the car chase during the movie's first act was shot in Chatham Historic Dockyard, Kent UK. 
Director Guy Ritchie finalized the script throughout production: "He’s quite intuitive and tends to constantly rewrite stuff, which he does even when they’re shooting. He’ll rewrite things in the morning if they’re shooting that day, working with the actors if something doesn’t feel right." says long term collaborator David Allcock.

Music

The musical score for The Man from U.N.C.L.E. was composed by Daniel Pemberton. A soundtrack album was released by WaterTower Music on August 7, 2015.

Release

The film was originally set for a January 16, 2015 release, but on August 12, 2014, Warner Bros moved the film's release date to August 14, 2015.

Home media

The Man from U.N.C.L.E. was released on DVD and Blu-ray on November 17, 2015 by Warner Home Video.