The Public Enemies Look

[Steve G]

Sanjin, what the hell are you on ? Just because he used Sony doesn't mean that he had pressure put on him by Sony. Do you really believe that arri, panavision, red, sony and panasonic pressure directors to use their kit ? You are deluded.

Third: And SUDDENLY his last film shot partly digital and that happened all by SONY digital cameras.

So what ? Stephen Soderberg used Red on his last feature. Did Red force him to use their camera ? Of course not.

Ultimately, your conspiracy theories are amusing.

Quote:
Who knows maybe HE (MM) in his next feature will do (finally) his own digital research... choose RED1 ... or he is (dead) as a good movie director anyway... Sanjin Jukic

I repeat, saying that a director will suffer for not shooting with the Red is unbelievably ridiculous. Takes Red fanboy behaviour to a new and extreme level. Red is just a tool, a camera, with quirks and issues like all of them out there.
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[Sanjin Jukic]

Sanjin, what the hell are you on ? Just because he used Sony doesn't mean that he had pressure put on him by Sony. Do you really believe that arri, panavision, red, sony and panasonic pressure directors to use their kit ? You are deluded.

So what ? Stephen Soderberg used Red on his last feature. Did Red force him to use their camera ? Of course not.

Ultimately, your conspiracy theories are amusing.



I repeat, saying that a director will suffer for not shooting with the Red is unbelievably ridiculous. Takes Red fanboy behaviour to a new and extreme level. Red is just a tool, a camera, with quirks and issues like all of them out there.
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Steve,

like it not but sort of "conspiracy theory and practice" exists in our industry as the same as in other fields of our life...

Again don't be so naive and believe in a freedom to decide but without influence that actually in praxis is just an opposite (freedom to decide with a certain influence) that exists everywhere...

Recently about that "phenomena" Jim Jannard was writting at the tread titled "RED trashing..."

at CML - Cinematography Information & Discussion Forum>>>"High resolution non realtime - Dalsa Origin - Red - SI - Phantom">>>

LINK>>>

[Baltazar Balta]

Steve,

terribly sorry but you are still not GETTING the point!!!!

First: Of course that I know well that he shot the last two movies before PE on Viper.


My DVD collection of MM movies

Second: MM is well known guy who is always "digging" different looks in his movies and the last happened to be shot DIGITAL.
on that commercial,” says Spinotti.
American Cinematographer 0709, page 25"[/COLOR][/I]

Quote link>>>

This sounds like a big joke at the time when RED shoots on CF cards, HDD RAID, etc,... @ 4K, 3K, 2K, can be resized in any HD format and can get any of 2/3" lens via B4 mount, etc,...

Seven: Sony Boys won. Why? Don't ask that stupid question any more!!!!

Mr. Jukic,

There is nothing stupid in Mr. Mullen's and Mr. Gray's statements. Your implication about Public Enemies(she is bad because she was not shot on RED1) is preposterous.

Of course nothing happens without a cause but you like wine and I like cherry juice. Michael Mann liked what he got from Sony camera and shot his film with that camera. The article say that he and his dp made some tests before shooting. I don't think a well-established director like him could be forced to do anthing he didn't want to.

Creating conspiracy theories out of some fanboyish thoughts is not useful critique.

P.S Excuse my English, please.

With regards,
Baltazar

[Sanjin Jukic]

Mr. Jukic,

There is nothing stupid in Mr. Mullen's and Mr. Gray's statements. Your implication about Public Enemies(she is bad because she was not shot on RED1) is preposterous.

Of course nothing happens without a cause but you like wine and I like cherry juice. Michael Mann liked what he got from Sony camera and shot his film with that camera. The article say that he and his dp made some tests before shooting. I don't think a well-established director like him could be forced to do anthing he didn't want to.

Creating conspiracy theories out of some fanboyish thoughts is not useful critique.

P.S Excuse my English, please.

With regards,
Baltazar

Baltazar,

just read again my replay above of yours...

Again nothing here about RED1 FUNBOYISH it's more about SONY BOYISH if ever you can get it...

In our industry doesn't exist sort of "rude" pressure, it's more about a soft or underneath sort of doing things where UNDER is related especially as to be hidden...

Hope this helps...

[Steve G]

Sanjin, as others have said, Michael Mann is a director who would never be pressurised into using a format that he didn't want. It clearly was his choice to use the sony cameras.

Recently about that "phenomena" Jim Jannard was writting at the tread titled "RED trashing..."

at CML - Cinematography Information & Discussion Forum>>>"High resolution non realtime - Dalsa Origin - Red - SI - Phantom">>>

Not sure what your point is. Jim said on that forum, as you know, that he has to let the red stand on it's own merits.

You seem to spend a lot of time doing tests with your Red and your still lenses. Those are quite interesting to see. Others on this forum, like myself, use the Red and all the other hi def and film cameras that are out there to actually shoot stuff for broadcast/cinema release. I, and I suspect others are getting a sense of the reds weaknesses and strengths. No camera is perfect. Paranoid ramblings like yours insinuating that the Red is the only camera that people should shoot things on are frankly ridiculous and probably ultimately damaging to the Red cause.

[Andrew Wilding]

This is reminding me of the Macgregor SC250 post. Sanjin must be off the medications.

[Tom Lowe]

From the AC article:

"The EX1 was especially great for car interiors..."

I don't think so! Those interior shots looked god awful with the blown-out windows and banding.

[David Mullen ASC]

Sanjin is always quoting Godard -- what would Godard say about using obvious video artifacts and a lack of visual consistency, about making filmmaking techniques more obvious rather than hidden and invisible, about breaking the audience's concentration of the narrative, etc.? I recall an essay by Godard where he talks about the inherent draw of narrative, the willing suspension of disbelief, and how that should be disrupted to remind the viewer that they are watching a recreated event.

[Steve G]

Baltazar,

just read again my replay above of yours...

Again nothing here about RED1 FUNBOYISH it's more about SONY BOYISH if ever you can get it...

In our industry doesn't exist sort of "rude" pressure, it's more about a soft or underneath sort of doing things where UNDER is related especially as to be hidden...

Hope this helps...

[Steve G]

Sanjin, whatever it is that you are on, please let us know.