Comments on: Exclusive Interview: Joss Whedon http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php A Website About Movies Mon, 13 Feb 2012 23:33:42 +0000 hourly 1 http://wordpress.org/?v=3.2.1 By: Pretty 24 y.o baby Luiza with nice brown eyes and elegant black hairs. http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-266258 Pretty 24 y.o baby Luiza with nice brown eyes and elegant black hairs. Mon, 30 Jan 2012 15:09:06 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-266258 <strong>........</strong> I'm just writing to let you know what a helpful experience my cousin's girl developed visiting your webblog. She realized lots of things, which include what it is like to possess a wonderful giving style to get the others effortlessly learn about var... ……..

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]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-46510 Blue Gloves Wed, 29 Aug 2007 04:41:57 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-46510 Amended: It's called Green Screening. If...for instance, you want an extravagant set, often times it is much smarter to shoot against a Green Screen, and then matte in a background and middle-ground made from a miniature, matte painting, a digital matte, and or, a back drop...any of these steps would have been preferable to darkening the film's aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened, or simply shot on location, at a pre-standing site...i.e., a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets. James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say...a staircase, and then using matte paintings, forced perspective--via miniatures, etc., to accomplish your vision, you can do it without spending too much money unnecessarily. That money can be better spent elsewhere. PS, in Hollywood, it doesn't have to be overly dark. That's what they mean by the saying: Lights, Camera, Action!!! Amended:

It’s called Green Screening. If…for instance, you want an extravagant set, often times it is much smarter to shoot against a Green Screen, and then matte in a background and middle-ground made from a miniature, matte painting, a digital matte, and or, a back drop…any of these steps would have been preferable to darkening the film’s aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened, or simply shot on location, at a pre-standing site…i.e., a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets.

James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say…a staircase, and then using matte paintings, forced perspective–via miniatures, etc., to accomplish your vision, you can do it without spending too much money unnecessarily. That money can be better spent elsewhere.

PS, in Hollywood, it doesn’t have to be overly dark. That’s what they mean by the saying: Lights, Camera, Action!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181419 Blue Gloves Wed, 29 Aug 2007 04:41:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181419 Amended: It's called Green Screening. If...for instance, you want an extravagant set, often times it is much smarter to shoot against a Green Screen, and then matte in a background and middle-ground made from a miniature, matte painting, a digital matte, and or, a back drop...any of these steps would have been preferable to darkening the film's aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened, or simply shot on location, at a pre-standing site...i.e., a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets. James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say...a staircase, and then using matte paintings, forced perspective--via miniatures, etc., to accomplish your vision, you can do it without spending too much money unnecessarily. That money can be better spent elsewhere. PS, in Hollywood, it doesn't have to be overly dark. That's what they mean by the saying: Lights, Camera, Action!!! Amended:

It’s called Green Screening. If…for instance, you want an extravagant set, often times it is much smarter to shoot against a Green Screen, and then matte in a background and middle-ground made from a miniature, matte painting, a digital matte, and or, a back drop…any of these steps would have been preferable to darkening the film’s aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened, or simply shot on location, at a pre-standing site…i.e., a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets.

James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say…a staircase, and then using matte paintings, forced perspective–via miniatures, etc., to accomplish your vision, you can do it without spending too much money unnecessarily. That money can be better spent elsewhere.

PS, in Hollywood, it doesn’t have to be overly dark. That’s what they mean by the saying: Lights, Camera, Action!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181420 Blue Gloves Wed, 29 Aug 2007 04:41:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181420 Amended: It's called Green Screening. If...for instance, you want an extravagant set, often times it is much smarter to shoot against a Green Screen, and then matte in a background and middle-ground made from a miniature, matte painting, a digital matte, and or, a back drop...any of these steps would have been preferable to darkening the film's aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened, or simply shot on location, at a pre-standing site...i.e., a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets. James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say...a staircase, and then using matte paintings, forced perspective--via miniatures, etc., to accomplish your vision, you can do it without spending too much money unnecessarily. That money can be better spent elsewhere. PS, in Hollywood, it doesn't have to be overly dark. That's what they mean by the saying: Lights, Camera, Action!!! Amended:

It’s called Green Screening. If…for instance, you want an extravagant set, often times it is much smarter to shoot against a Green Screen, and then matte in a background and middle-ground made from a miniature, matte painting, a digital matte, and or, a back drop…any of these steps would have been preferable to darkening the film’s aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened, or simply shot on location, at a pre-standing site…i.e., a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets.

James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say…a staircase, and then using matte paintings, forced perspective–via miniatures, etc., to accomplish your vision, you can do it without spending too much money unnecessarily. That money can be better spent elsewhere.

PS, in Hollywood, it doesn’t have to be overly dark. That’s what they mean by the saying: Lights, Camera, Action!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-46509 Blue Gloves Wed, 29 Aug 2007 04:35:31 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-46509 It's called Green Screening. If for instance, you want want an extravagant set, often times it is smart to shoot against a Green Screen, and then matte in a background and mid ground made from a miniature, matte painting, a digital matte and or a back drop, any of these steps would have been preferable to darkening the film's aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened or simply shot on location, at a pre-standing site...i.e. a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets. James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say a staircase, and then using matte paintings, forced perspective via miniatures, etc., to accomplish your vision without spending too much money unnecessarily. That money can be better spent elsewhere. PS, in Hollywood, it doesn't have to be overly dark. That's what they mean by the saying: Lights, Camera, Action!!! It’s called Green Screening. If for instance, you want want an extravagant set, often times it is smart to shoot against a Green Screen, and then matte in a background and mid ground made from a miniature, matte painting, a digital matte and or a back drop, any of these steps would have been preferable to darkening the film’s aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened or simply shot on location, at a pre-standing site…i.e. a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets.

James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say a staircase, and then using matte paintings, forced perspective via miniatures, etc., to accomplish your vision without spending too much money unnecessarily. That money can be better spent elsewhere.

PS, in Hollywood, it doesn’t have to be overly dark. That’s what they mean by the saying: Lights, Camera, Action!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181417 Blue Gloves Wed, 29 Aug 2007 04:35:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181417 It's called Green Screening. If for instance, you want want an extravagant set, often times it is smart to shoot against a Green Screen, and then matte in a background and mid ground made from a miniature, matte painting, a digital matte and or a back drop, any of these steps would have been preferable to darkening the film's aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened or simply shot on location, at a pre-standing site...i.e. a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets. James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say a staircase, and then using matte paintings, forced perspective via miniatures, etc., to accomplish your vision without spending too much money unnecessarily. That money can be better spent elsewhere. PS, in Hollywood, it doesn't have to be overly dark. That's what they mean by the saying: Lights, Camera, Action!!! It’s called Green Screening. If for instance, you want want an extravagant set, often times it is smart to shoot against a Green Screen, and then matte in a background and mid ground made from a miniature, matte painting, a digital matte and or a back drop, any of these steps would have been preferable to darkening the film’s aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened or simply shot on location, at a pre-standing site…i.e. a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets.

James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say a staircase, and then using matte paintings, forced perspective via miniatures, etc., to accomplish your vision without spending too much money unnecessarily. That money can be better spent elsewhere.

PS, in Hollywood, it doesn’t have to be overly dark. That’s what they mean by the saying: Lights, Camera, Action!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181418 Blue Gloves Wed, 29 Aug 2007 04:35:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181418 It's called Green Screening. If for instance, you want want an extravagant set, often times it is smart to shoot against a Green Screen, and then matte in a background and mid ground made from a miniature, matte painting, a digital matte and or a back drop, any of these steps would have been preferable to darkening the film's aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened or simply shot on location, at a pre-standing site...i.e. a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets. James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say a staircase, and then using matte paintings, forced perspective via miniatures, etc., to accomplish your vision without spending too much money unnecessarily. That money can be better spent elsewhere. PS, in Hollywood, it doesn't have to be overly dark. That's what they mean by the saying: Lights, Camera, Action!!! It’s called Green Screening. If for instance, you want want an extravagant set, often times it is smart to shoot against a Green Screen, and then matte in a background and mid ground made from a miniature, matte painting, a digital matte and or a back drop, any of these steps would have been preferable to darkening the film’s aperture to hide bad sets like the Bar. The whole bar scene could have been Green Screened or simply shot on location, at a pre-standing site…i.e. a real bar. It would have cost them very little money to do it and saved them the cost of building over expensive sets.

James Cameron even once warned filmmakers against building a massive set when you are only going to use it for a brief scene. He suggested only building parts of it, say a staircase, and then using matte paintings, forced perspective via miniatures, etc., to accomplish your vision without spending too much money unnecessarily. That money can be better spent elsewhere.

PS, in Hollywood, it doesn’t have to be overly dark. That’s what they mean by the saying: Lights, Camera, Action!!!

]]> By: Brendon Carr http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-46159 Brendon Carr Mon, 27 Aug 2007 13:17:32 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-46159 Wouldn't a dark image be used not to compensate for special effects -- which are after all CGI and not, therefore, "shot" with "aperture" -- but rather to compensate for not enough money in sets? This movie's budget of US$39 million is really quite small as far as space movies go, and if I recall my Firefly-on-FOX history that original Serenity set cost them a cool US$10 million. Then it was torn down, thrown away, and reconstituted (another US$10 million) again for <i>Serenity</i>. If you're spending a bunch on effects, and buying just a few sandwiches for the crew, it requires some sleight of hand to accomplish. PS, in space it's dark. Wouldn’t a dark image be used not to compensate for special effects — which are after all CGI and not, therefore, “shot” with “aperture” — but rather to compensate for not enough money in sets? This movie’s budget of US$39 million is really quite small as far as space movies go, and if I recall my Firefly-on-FOX history that original Serenity set cost them a cool US$10 million. Then it was torn down, thrown away, and reconstituted (another US$10 million) again for Serenity. If you’re spending a bunch on effects, and buying just a few sandwiches for the crew, it requires some sleight of hand to accomplish.

PS, in space it’s dark.

]]> By: Brendon Carr http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181415 Brendon Carr Mon, 27 Aug 2007 13:17:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181415 Wouldn't a dark image be used not to compensate for special effects -- which are after all CGI and not, therefore, "shot" with "aperture" -- but rather to compensate for not enough money in sets? This movie's budget of US$39 million is really quite small as far as space movies go, and if I recall my Firefly-on-FOX history that original Serenity set cost them a cool US$10 million. Then it was torn down, thrown away, and reconstituted (another US$10 million) again for <i>Serenity</i>. If you're spending a bunch on effects, and buying just a few sandwiches for the crew, it requires some sleight of hand to accomplish. PS, in space it's dark. Wouldn’t a dark image be used not to compensate for special effects — which are after all CGI and not, therefore, “shot” with “aperture” — but rather to compensate for not enough money in sets? This movie’s budget of US$39 million is really quite small as far as space movies go, and if I recall my Firefly-on-FOX history that original Serenity set cost them a cool US$10 million. Then it was torn down, thrown away, and reconstituted (another US$10 million) again for Serenity. If you’re spending a bunch on effects, and buying just a few sandwiches for the crew, it requires some sleight of hand to accomplish.

PS, in space it’s dark.

]]> By: Brendon Carr http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181416 Brendon Carr Mon, 27 Aug 2007 13:17:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181416 Wouldn't a dark image be used not to compensate for special effects -- which are after all CGI and not, therefore, "shot" with "aperture" -- but rather to compensate for not enough money in sets? This movie's budget of US$39 million is really quite small as far as space movies go, and if I recall my Firefly-on-FOX history that original Serenity set cost them a cool US$10 million. Then it was torn down, thrown away, and reconstituted (another US$10 million) again for <i>Serenity</i>. If you're spending a bunch on effects, and buying just a few sandwiches for the crew, it requires some sleight of hand to accomplish. PS, in space it's dark. Wouldn’t a dark image be used not to compensate for special effects — which are after all CGI and not, therefore, “shot” with “aperture” — but rather to compensate for not enough money in sets? This movie’s budget of US$39 million is really quite small as far as space movies go, and if I recall my Firefly-on-FOX history that original Serenity set cost them a cool US$10 million. Then it was torn down, thrown away, and reconstituted (another US$10 million) again for Serenity. If you’re spending a bunch on effects, and buying just a few sandwiches for the crew, it requires some sleight of hand to accomplish.

PS, in space it’s dark.

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-45734 Blue Gloves Sat, 25 Aug 2007 09:20:06 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-45734 Thanks for your more than intriguing and insightful views on this matter Rufus. Based upon your writings, it looks like this was some kind of ill advised last minute creative decision on the part of the studio, technically speaking, as far as the dark aperture is concerned--one that I am hoping Joss Whedon will correct someday!!! As I said earlier...like you, I really enjoyed Serenity, and maybe even love this movie, and thus...would like to see sequels and a new tv series made. I just want to see the best print made available to the fans...most likely, the very same print that you first saw at the preview screenings of Serenity!!! Take care Rufus, and thanks again!!! Thanks for your more than intriguing and insightful views on this matter Rufus. Based upon your writings, it looks like this was some kind of ill advised last minute creative decision on the part of the studio, technically speaking, as far as the dark aperture is concerned–one that I am hoping Joss Whedon will correct someday!!!

As I said earlier…like you, I really enjoyed Serenity, and maybe even love this movie, and thus…would like to see sequels and a new tv series made. I just want to see the best print made available to the fans…most likely, the very same print that you first saw at the preview screenings of Serenity!!!

Take care Rufus, and thanks again!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181413 Blue Gloves Sat, 25 Aug 2007 09:20:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181413 Thanks for your more than intriguing and insightful views on this matter Rufus. Based upon your writings, it looks like this was some kind of ill advised last minute creative decision on the part of the studio, technically speaking, as far as the dark aperture is concerned--one that I am hoping Joss Whedon will correct someday!!! As I said earlier...like you, I really enjoyed Serenity, and maybe even love this movie, and thus...would like to see sequels and a new tv series made. I just want to see the best print made available to the fans...most likely, the very same print that you first saw at the preview screenings of Serenity!!! Take care Rufus, and thanks again!!! Thanks for your more than intriguing and insightful views on this matter Rufus. Based upon your writings, it looks like this was some kind of ill advised last minute creative decision on the part of the studio, technically speaking, as far as the dark aperture is concerned–one that I am hoping Joss Whedon will correct someday!!!

As I said earlier…like you, I really enjoyed Serenity, and maybe even love this movie, and thus…would like to see sequels and a new tv series made. I just want to see the best print made available to the fans…most likely, the very same print that you first saw at the preview screenings of Serenity!!!

Take care Rufus, and thanks again!!!

]]> By: Blue Gloves http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181414 Blue Gloves Sat, 25 Aug 2007 09:20:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181414 Thanks for your more than intriguing and insightful views on this matter Rufus. Based upon your writings, it looks like this was some kind of ill advised last minute creative decision on the part of the studio, technically speaking, as far as the dark aperture is concerned--one that I am hoping Joss Whedon will correct someday!!! As I said earlier...like you, I really enjoyed Serenity, and maybe even love this movie, and thus...would like to see sequels and a new tv series made. I just want to see the best print made available to the fans...most likely, the very same print that you first saw at the preview screenings of Serenity!!! Take care Rufus, and thanks again!!! Thanks for your more than intriguing and insightful views on this matter Rufus. Based upon your writings, it looks like this was some kind of ill advised last minute creative decision on the part of the studio, technically speaking, as far as the dark aperture is concerned–one that I am hoping Joss Whedon will correct someday!!!

As I said earlier…like you, I really enjoyed Serenity, and maybe even love this movie, and thus…would like to see sequels and a new tv series made. I just want to see the best print made available to the fans…most likely, the very same print that you first saw at the preview screenings of Serenity!!!

Take care Rufus, and thanks again!!!

]]> By: rufus http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-45704 rufus Sat, 25 Aug 2007 06:20:46 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-45704 I first saw Serenity a few days before the wide release, a friend at a tv station had free preview tickets. The picture was much brighter in "aperture" at the preview than when I watched it again with my husband several weeks later (loved the movie the first time around and wanted to support Joss, as I am a Buffy and Angel fan) at a sub-urban venue. In the second viewing, many scenes were so dark in comparison to the first showing, I remember commenting to my husband that there must have been a problem with the projection staff or the film...Everyone that I saw the film with the first time, and they were not fans of Firefly or Joss-just free movie junkies, I guess, really liked the movie and thought the special effects were great. Don't know if this sheds any "light" on your discourse. The DVD I bought later was also very dark. What can I say but that someone needs to lighten up!! I first saw Serenity a few days before the wide release, a friend at a tv station had free preview tickets. The picture was much brighter in “aperture” at the preview than when I watched it again with my husband several weeks later (loved the movie the first time around and wanted to support Joss, as I am a Buffy and Angel fan) at a sub-urban venue. In the second viewing, many scenes were so dark in comparison to the first showing, I remember commenting to my husband that there must have been a problem with the projection staff or the film…Everyone that I saw the film with the first time, and they were not fans of Firefly or Joss-just free movie junkies, I guess, really liked the movie and thought the special effects were great. Don’t know if this sheds any “light” on your discourse. The DVD I bought later was also very dark. What can I say but that someone needs to lighten up!!

]]> By: rufus http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181411 rufus Sat, 25 Aug 2007 06:20:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181411 I first saw Serenity a few days before the wide release, a friend at a tv station had free preview tickets. The picture was much brighter in "aperture" at the preview than when I watched it again with my husband several weeks later (loved the movie the first time around and wanted to support Joss, as I am a Buffy and Angel fan) at a sub-urban venue. In the second viewing, many scenes were so dark in comparison to the first showing, I remember commenting to my husband that there must have been a problem with the projection staff or the film...Everyone that I saw the film with the first time, and they were not fans of Firefly or Joss-just free movie junkies, I guess, really liked the movie and thought the special effects were great. Don't know if this sheds any "light" on your discourse. The DVD I bought later was also very dark. What can I say but that someone needs to lighten up!! I first saw Serenity a few days before the wide release, a friend at a tv station had free preview tickets. The picture was much brighter in “aperture” at the preview than when I watched it again with my husband several weeks later (loved the movie the first time around and wanted to support Joss, as I am a Buffy and Angel fan) at a sub-urban venue. In the second viewing, many scenes were so dark in comparison to the first showing, I remember commenting to my husband that there must have been a problem with the projection staff or the film…Everyone that I saw the film with the first time, and they were not fans of Firefly or Joss-just free movie junkies, I guess, really liked the movie and thought the special effects were great. Don’t know if this sheds any “light” on your discourse. The DVD I bought later was also very dark. What can I say but that someone needs to lighten up!!

]]> By: rufus http://www.filmschoolrejects.com/features/exclusive-interview-joss-whedon.php/comment-page-1#comment-181412 rufus Sat, 25 Aug 2007 06:20:00 +0000 http://www.filmschoolrejects.com/interviews/exclusive-interview-joss-whedon.php#comment-181412 I first saw Serenity a few days before the wide release, a friend at a tv station had free preview tickets. The picture was much brighter in "aperture" at the preview than when I watched it again with my husband several weeks later (loved the movie the first time around and wanted to support Joss, as I am a Buffy and Angel fan) at a sub-urban venue. In the second viewing, many scenes were so dark in comparison to the first showing, I remember commenting to my husband that there must have been a problem with the projection staff or the film...Everyone that I saw the film with the first time, and they were not fans of Firefly or Joss-just free movie junkies, I guess, really liked the movie and thought the special effects were great. Don't know if this sheds any "light" on your discourse. The DVD I bought later was also very dark. What can I say but that someone needs to lighten up!! I first saw Serenity a few days before the wide release, a friend at a tv station had free preview tickets. The picture was much brighter in “aperture” at the preview than when I watched it again with my husband several weeks later (loved the movie the first time around and wanted to support Joss, as I am a Buffy and Angel fan) at a sub-urban venue. In the second viewing, many scenes were so dark in comparison to the first showing, I remember commenting to my husband that there must have been a problem with the projection staff or the film…Everyone that I saw the film with the first time, and they were not fans of Firefly or Joss-just free movie junkies, I guess, really liked the movie and thought the special effects were great. Don’t know if this sheds any “light” on your discourse. The DVD I bought later was also very dark. What can I say but that someone needs to lighten up!!

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