"Club Penton" - Ask questions to Hollywood insider "Penton-Man"

[Doctorossi]

Originally Posted by SquidPuppet

Lorenzo on pole which bumped Rossi to the second row.

Dare we dream of the back-and-forth lead changes of a few years ago?

Meanwhile, what do make of that Moto2 registration?

[SquidPuppet]

Originally Posted by Doctorossi

Dare we dream of the back-and-forth lead changes of a few years ago?

Meanwhile, what do make of that Moto2 registration?

I want to see some elbows in use, a la Biaggi.

What registration? Not sure I know of what you speak.

[Constitution 101]

I was wondering what Penton or others have to say about the future of 4K Red cameras and movies...

[Jeff Kleist]

Seamless branching has nothing to do with codecs and it's all about merging into traffic. As long as there's bandwidth to ride on, it's good to go

[Doctorossi]

Originally Posted by SquidPuppet

What registration? Not sure I know of what you speak.

62 entrants registered. There going to have to cut it down to a maxed-out grid.

[Penton-Man]

Originally Posted by Constitution 101

I was wondering what Penton or others have to say about the future of 4K Red cameras and movies...

Well, first of all, it’s not a “4k” camera, it’s a 4k RAW camera, see………
https://forum.blu-ray.com/showpost.p...postcount=7570

and actually, if one were to measure the resolution of the imagery that is exhibited at the end of the process, you get about 3.2 – 3.3 k’s worth, which by my arithmetic, rounds down closer to 3k rather than 4k.

Secondly, since you’re a new member, I don’t want you to get the idea that I dislike the camera per se, as I already gave a tip of the hat to this acquisition device recently here…………..
https://forum.blu-ray.com/showthread...82#post1860482

What I dislike about the camera is the associated hype ^ that came with it.

As to your question, one of the disadvantages of using this camera, and a BIG one for high-end feature films is the lack of a standard post workflow.
In other words, there are a bunch of solutions with each post house putting out its own product with imagery captured on the Red One but, there is no standard process for the workflow. Everyone is doing their own thing.

This can lead to a lot of potential problems (R3D conversion errors, etc.) that hamstrings the use of this camera because people that shoot feature films with multi-million dollar budgets are not willing to tolerate that type of situation. The motion picture business just doesn’t work like that. Film and other digital cameras like the Panavision Genesis and Sony stuff have a well established very efficient post production infrastructure in place for their imagery capture which makes the process run smoother and simpler.

In other words, if you (the Director) do decide to shoot your feature film with a digital camera rather than a film camera, you can send that 1920x1080 HD video to any post house, just about anywhere, and the post production will be smoother, simpler and less prone to inducing problems or errors than if you sent them Red stuff.

That is a big reason why digital cameras (other than the RedOne) are used and will continue to be used (for the foreseeable future) much more often than the Red for high-end feature films or even television series.

As to the camera itself, it does have its own inherent weaknesses such as low light capability and limited dynamic range. It’s a fine camera for its price but, don’t get caught up with the “4k” resolution hype.

[Doctorossi]

Hey, Squid- I think we've got a season on our hands!

[MerrickG]

Originally Posted by Maxpower1987

What was the last decent big budget original movie you saw (not based on some pre-existing media)...

I can't think of one.

The Pixar films are pretty original and pretty big budget. $175 million for UP and $180 million for WallE

[Jeff Kleist]

What was the last decent big budget original movie you saw (not based on some pre-existing media)...

I can't think of one.
_________________

Should add to that "not championed by a proven AAA talent"

[SquidPuppet]

Originally Posted by Doctorossi

Hey, Squid- I think we've got a season on our hands!

Battle Royale

Pedrosa just cant remain healthy. I aint a fan, but I gotta feel a little bit bad for him. Lorenzo has displayed a mental strength that few riders have. Stoner just rides the hell out of his bike. And Rossi....well...he will NEVER lay down. It's going to get rugged out there.

I saw the news about the registration a few hours after you mentioned it. That is a BIG surprise to me. Even though I hate the whole single engine supplier concept, it could lead to some brilliant racing and battles. It just bugs me that it will become the "Honda Cup Series".

[neo_reloaded]

Originally Posted by Jeff Kleist

Should add to that "not championed by a proven AAA talent"

Well I think that makes things a little less fair... what studio is going to fork out big bucks for a film that a) isn't based on an existing popular property and b) has no AAA talent involved? If the property isn't already hot, then you need a proven director or actor or SOMEONE to help insure the film will make a return.

If you take out the "big budget" requirement, then sure there are good original films from relative unknowns.

[horseflesh]

Originally Posted by Maxpower1987

What was the last decent big budget original movie you saw (not based on some pre-existing media)...

I can't think of one.

As Merrick said, the Pixar stuff.
In fact animated films generally.
Off the top of my head, and only because I had to sit through the atrociously bad sequel last weekend; Night at the Museum (although that also falls way short of your "decent" criterion).

My point is that I'd find it hard to imagine a major Hollywood studio making something like Dog Day Afternoon, Deliverance or Barry Lyndon today.
But.....we have seen films like The Reader, Milk and The Wrestler in the last few months.
Maybe I'm just getting cynical in my old age

[AnimeOnBlu]

Penton,
Jeff said you might be able to provide an answer to my question here.
Thanks.

[Eastkhan]

Originally Posted by Penton-Man

Well, first of all, it’s not a “4k” camera, it’s a 4k RAW camera, see………
https://forum.blu-ray.com/showpost.p...postcount=7570

and actually, if one were to measure the resolution of the imagery that is exhibited at the end of the process, you get about 3.2 – 3.3 k’s worth, which by my arithmetic, rounds down closer to 3k rather than 4k.

Secondly, since you’re a new member, I don’t want you to get the idea that I dislike the camera per se, as I already gave a tip of the hat to this acquisition device recently here…………..
https://forum.blu-ray.com/showthread...82#post1860482

What I dislike about the camera is the associated hype ^ that came with it.

As to your question, one of the disadvantages of using this camera, and a BIG one for high-end feature films is the lack of a standard post workflow.
In other words, there are a bunch of solutions with each post house putting out its own product with imagery captured on the Red One but, there is no standard process for the workflow. Everyone is doing their own thing.

This can lead to a lot of potential problems (R3D conversion errors, etc.) that hamstrings the use of this camera because people that shoot feature films with multi-million dollar budgets are not willing to tolerate that type of situation. The motion picture business just doesn’t work like that. Film and other digital cameras like the Panavision Genesis and Sony stuff have a well established very efficient post production infrastructure in place for their imagery capture which makes the process run smoother and simpler.

In other words, if you (the Director) do decide to shoot your feature film with a digital camera rather than a film camera, you can send that 1920x1080 HD video to any post house, just about anywhere, and the post production will be smoother, simpler and less prone to inducing problems or errors than if you sent them Red stuff.

That is a big reason why digital cameras (other than the RedOne) are used and will continue to be used (for the foreseeable future) much more often than the Red for high-end feature films or even television series.

As to the camera itself, it does have its own inherent weaknesses such as low light capability and limited dynamic range. It’s a fine camera for its price but, don’t get caught up with the “4k” resolution hype.

Penton, I just saw the Sherlock Holmes trailer in 1080.

When I first looked at it I thought it was shot on digital, then I was pretty unsure about some other shots.

Is it a mix of film and digital?

Whatever it is though, the film might be interesting for cinematography afficionados. I'm not an expert by no means, just an average movie fan but it looked as if it was quite a mix by P. Rousselot; some out of focus parts etc...

[Brain Sturgeon]

Originally Posted by Maxpower1987

What was the last decent big budget original movie you saw (not based on some pre-existing media)...

I can't think of one.

What's big budget these days?

Saving Private Ryan? $65M production, $25M marketing
Gladiator? $105M production
Braveheart? $72M production
The Matrix? $63M production

Those come to mind as decent "Original" screenplays with larger budgets.

[Alan Gordon]

Originally Posted by Penton-Man

That is a big reason why digital cameras (other than the RedOne) are used and will continue to be used (for the foreseeable future) much more often than the Red for high-end feature films or even television series.

Late last year I started watching a new show on TNT-HD called "Leverage" (dang you Paramount for making the S1 release DVD-only!), and was immediately VERY impressed with the PQ of this particular show.

Back in April, I started watching another new series, "Southland" on NBC, and was immediately VERY impressed with the PQ of this particular show.

I hate to admit it, but a month ago when a poster on here posted a link to a Megan Fox video shot by the RedOne, I went to their site (along with Esquire) to see if they had a less COMPRESSED version of the video, and I found something VERY interesting; namely that both shows mentioned above were shot with the RedOne. Two other shows I watch, "The Cleaner" and "Sanctuary" were apparently shot with it as well, though it's been a little while since I've seen them, and it was prior to upgrading my HDTV last year, so I'm not really sure of my opinion of the PQ of those shows.

Shot On Red

My point to all this? Well, after finding out those two shows were filmed with the RedOne, I remembered my opinion (as well as WickyWoo's) on the .mov file you posted some time ago with the RedOne comparison... and I started to laugh!

P.S.: If you're at work, never try to GUESS what RedOne's website address is!

~Alan

[Penton-Man]

There is no denying the fact that RedOne capture can look superb; however, real world working conditions shows it looks far superior in daylight-balanced light and it has limited low-light capability as I mentioned previously. I believe this month the ASC Magazine is publishing the parameters of a shoot-out that it’s in the process of doing between a slew of digital cameras (including the Red) as well film cameras.

Most (meaning the vast majority) of the spring TV pilots are being shot on digital cameras such as the Sony F23, Sony F35, Panavision Genesis, and the Sony F900 variants, rather than the RedOne……for the real world reasons I mentioned on the last page.

When “Smallville” switched from film to the Panavision Genesis, the cinematographers I spoke with who watched the series, could discern either no difference after the switch, or felt that the Genesis capture appeared of slightly better PQ.

You want to have something to laugh about?
The greatest push for digital capture of TV shows has been due to the SAG situation rather than any inherent strengths in the picture quality or post production workflows of any of these digital acquisition devices compared to film. What I mean is, essentially all future television production will be done on AFTRA contracts – thusly, mandating the use of digital capture.

Here’s some background………..
http://digitalmedialaw.blogspot.com/...-94-aftra.html

[Penton-Man]

Originally Posted by AnimeOnBlu

Penton,
Jeff said you might be able to provide an answer to my question here.
Thanks.

Offhand, I don’t know.

If you happen to be in L.A. this summer you should check out this....
http://www.oscars.org/events-exhibit...009/anime.html

[Penton-Man]

Originally Posted by Eastkhan

Penton, I just saw the Sherlock Holmes trailer..

Sorry, I’m not familiar with that production.

[Doctorossi]

Originally Posted by Penton-Man

Sorry, I’m not familiar with that production.

You know- Sherlock Holmes! That action hero who leaps from the face of exploding buildings and gets into brutal bar fights, firing his pistols in slow-motion.

It's Guy Ritchie. It says "Sherlock Holmes" on it, but it's Guy Ritchie.