Quote:
Originally Posted by Kris Deering
Yeah, there is a thread that got into 4K speak over on AVS. It started out talking about Red Ray and basically degraded into a few members saying Red was not a serious camera company. I pointed out that Red is getting quite a bit of attention right now from some big players: Fincher, Jackson, Cameron, etc. and I was surprised that some of Sony's biggest upcoming films (Dragon Tattoo, Amazing Spiderman) were being shot with the Red Epic vice the newer Sony. I think I asked you about that earlier in this thread somewhere. Have no issues with the Sony at all, haven't seen any footage with it to be opinionated one way or another. But I have seen enough Red footage to know I like what I see in capable hands and I'm just as excited about seeing the Epic footage as I am the Sony (and the Alexa for that matter).
|
Kris, just to be clear, the musings I posted about chess in the last post are not meant to be applicable to you or anyone else posting in this thread, as I don’t want anyone to get the wrong impression.
Anyway, that context you provide sounds very reasonable to me but, just a few points to clarify, in so much as I’m aware, just because something is a Sony/Columbia produced and/or distributed feature motion picture, does not in any manner mean that a Director and his D.P. are not entirely free to choose
whatever camera (manufacturer type) they feel they are most comfortable with and is the right tool to do the job to tell their story. I think many people believe it best for
any studio
not to get involved in that aspect of the creative process of a feature motion picture…unless asked by the Director or his imaging advocate.
I don’t remember you asking me previously about the F65 but I do recall you asking me that despite
The Social Network being shot with a Red (in ‘4K’), why was it finished only in 2K?, which I think was a typical (rather than atypical) outcome when you go back and look at all the motion pictures in the past which have utilized a Red digital camera as their primary acquisition device.
In regards to
The Amazing Spiderman (ASM) and
The Girl with the Dragon Tattoo (TGwtDT), just to be fair, principal photography for ASM started during the first week of Dec. 2010 and TGwtDT, even earlier than that, something like Sept.? of 2010. During that time, the F65 was still in development. Heck, Curtis Clark (C.C.) didn’t even get *his* F65 to shoot ‘The Arrival’ with until March 2011 and
that camera was still a prototype, which for instance, had to be hard-wired to an external recorder rather than using the SR Memory cards which should be available with the camera at its scheduled launch next Jan.
With all due respect to the Directors you’ve named (especially David Fincher
), I can’t think of a cinematographer with a more technically critical eye for imagery than C.C. and he can be quite candid in his remarks/recommendations, even publicly to Sony. For instance, at this recent Symposium (linked at bottom of post) -
https://forum.blu-ray.com/insider-di...ml#post5271701
In considering the need for a D.P. to set an accurate look on-set which can then journey through the post production pipeline, he publically queried Sony as to when
a practical 4K monitor would be available for use on-set.
Digital cameras continue to improve/evolve and whichever be their ultimate choice for usage on a case-by-case basis by any D.P. will be determined by a multitude of factors, including cost, availability, size/weight/compactness (esp. for 3D), familiarity with…and perhaps unknown to many A/V enthusiasts but, made
painfully clear in the past to some camera manufactures
, namely a standardized workflow (esp. important to color grading) in post –
http://www.theasc.com/ac_magazine/Se...art2/page2.php
In the interim since then, it seems, in some ways, all camera manufacturers have listened to the CAS impressions/recommendations of 2009, and in my opinion, the F65 offering is a milestone which sets the bar at a new height. I personally think that the Red Epic captured imagery for ASM in 3D looks superb, I just wish that the D.P. had pushed the depth (greater total positive plus negative parallax) more and not been quite so conservative but, that’s a personal observation.
On a side-note, at least for posterity’s sake, a new era is motion picture capture had gained a solid foothold now, especially given one of many signs which include the fact that this past year Panavision, Arri and Aaton
have stopped making film cameras. First still photography and now motion, I do feel sad for these folks –
http://www.msnbc.msn.com/id/3032619/#44904060
All countries
Argentina
Austria
Belgium
Brazil
Bulgaria
Chile
China
Colombia
Cyprus
Czech Republic
Estonia
Denmark
Finland
Greece
Hong Kong
Hungary
Iceland
Indonesia
Ireland
Israel
India
Latvia
Lithuania
Malaysia
New Zealand
Norway
Philippines
Poland
Portugal
Romania
Russia
Singapore
South Africa
South Korea
Sweden
Switzerland
Taiwan
Thailand
Turkey
Ukraine
United Arab Emirates
Linear Mode
