2012: The Year of 4K

[M Most]

It was film, Sony 1080p, and Viper 2K. Info I pulled straight from WB MPI (who did the DI) for the list says they did the DI at 4K but that might be an error on their part though I couldn't find anything to confirm what resolution the DI was done at despite common sense suggesting 2K given the use of digital video for most of the movie.

The Viper was always an HD camera. There was never a "Viper 2K".

[M Most]

Benjamin Buttons (Great looking movie BTW) was shot on the Viper, a 2K/1080P camera, so no going back to the negative there for 4K.
Mike, Spiderman 2 (Or maybe 3) was one of the first films to actually do the VFX at 4K, it's the movie that convinced most producers to stick to 2K

That would be SpiderMan 3, and not all of the VFX for that were done in anything larger than 2K either. I remember when SpiderMan 2 was touted as being one of the first "4K DI's" and how silly a lot of us found that claim when such a large percentage of the shots in the movie were either full on VFX shots or touched by VFX in one way or another.

[Wayne Morellini]

The vast majority of the listed titles were shot on film. I'm not sure that they all went through a 4K DI process, though. And pictures like Spider Man 2 were about 75% or more VFX shots - all done at 2K.

So vrtually none of these were a true primarily Red film? Can I guess a shot in cat woman that was done on Red, the one where they are in the dark kissing or something and poor Haely looks as white as her co-star. I mean, the skin tone differences are enormous over the film (but great film compared to what I was expecting though, did not really expect it to be much). Saw pictures of the Spiderman movie in Empire this week, the same color toning, and so dissapionted they rebooted it, yuck, won't be able to see Kirsten again ;) or the main lead in one more film (3d on Red).

Alright, here is a hot topic. How does the Red 3d setup on this film work? It has a sort of sheen on the skin tones etc, similar to the sort in magazines (what was the name of that slide film type they used to use?). It occured to me that shotting through a half mirror in a 3d system would do that.

[L. Langer]

Hrmm...well in some cursory checking, it looks like a lot of the info I got directly from Warner MPI contradicts IMDB but I can't find anything that is 100% certain for them other than the restoration work that everyone states was completed at 4K. Poo. At least the eFilm stuff is correct or seems to be at any rate. Wayne, Catwoman came out way before RED had any cameras available, so there's no RED footage in it. If you want to dig up some great Spiderman 3D information, just google some of the people involved and you'll find some good stuff eventually. Unfortunately, there have been a lot of articles put out lately that use the search keywords you'd be using, so you will have to sift through a lot of stuff. I remember finding a pretty nice write-up about the DI workflow in 3D that you'd probably like, but alas, I did not bookmark it.

[Wayne Morellini]

Who did I see saying Cat Woman had Red in it. Is it really that old, now I feel older. But still, I wonder what they used to shoot that scene I mentioned. Maybe it was shot with a blue light ting to it and they corrected the color to some facial tone, producing the effect.

[L. Langer]

Who did I see saying Cat Woman had Red in it. Is it really that old, now I feel older. But still, I wonder what they used to shoot that scene I mentioned. Maybe it was shot with a blue light ting to it and they corrected the color to some facial tone, producing the effect.

When Catwoman was in post, everyone was going batshit crazy with digital grading and all the new DI toys that were around, so it's a product of it's time. Many films made back then look just about the same as what was in the theater last week.

[Wayne Morellini]

If this is the proferred look I'm thinking about, great I wish more movies looked like that.

[Wayne Morellini]

Just watching SpyForce while checking this, an old classic Australian series. I've got the color up double and a red color shift and it still looks like ungraded digital with bad color shift. It is a real shame it never had that color correction movies today get, would have made a great series (even for today) much better.

People miss the point with digital, their is an optimum color balance for most films.

[Filip Orlandic]

And if you really have a 25Mb/s download on your internet, that's real time for RED RAY ...

My Star Wars BluRays have an audio data rate of a 5-6Mb/s. RED RAY's video data rate is still supposed to be a 20Mb/s or it just grew up again for another 20-25%?

20Mb/s video data rate + 5Mb/s audio data rate = 25Mb/, right or something else?

[Marc Wielage]

Alright, here is a hot topic. How does the Red 3d setup on this film work? It has a sort of sheen on the skin tones etc, similar to the sort in magazines (what was the name of that slide film type they used to use?). It occured to me that shotting through a half mirror in a 3d system would do that.

I think most of that is due to DP John Schwartzman and his choice of lenses, filters, and lighting, along with whatever was done in post. Glimmer glass, diffusion, pro mists, secondary keys... there's all kinds of ways to change images, particularly skin tones. My bet is on very skillful color correction in post, under Schwartzman's supervision. But it all has to start with a good image.

The new Amazing Spiderman trailer looks killer:

http://trailers.apple.com/trailers/s...zingspiderman/

I don't doubt the deep perspective high shots will be stunning, especially in 3D 4K.