Im making a three hour trip on Wednesday to go see it in Dallas in 4k. :)
It will be my first 4k experience.
I loved the original, and have been waiting for this one for quite a while...hope I can find a theater here in Nz to see it in all it's 4k glory.
Ian Vertovec did a great job with the DI on The Social Network, I'm sure this will be equally impressive.
I just was at a studio holiday party on Friday discussing upgrading the studio to support a full 4k pipeline as TGWTDT came up in discussion. Thoughts like "scary, exciting, wonderful, about time, it's gonna hurt, etc....
With more productions going the route of 4k it looks like 2012 is going to be a major year for studios and major VFX studios to upgrade. It's certainly on a lot of people's minds industry wide. This particular studio I serviced their Red imaging needs for several years before I vanished into the abyss. Editors had questions about the Premiere Pro and RedCineX workflow whenever I was chewing on material. It certainly will be easier on the larger studios by preparing now for the 4k wave. For some it's been a standard for a while, for others it's a scary alien world. Some studios are certainly already ready and producing high resolution output, but for some there will be technological growing pains others.
It's really, really exciting right now in the world of motion pictures. 4k releases, the move to 48fps 3D, 4k displays coming down the shute. Great times for those passionate about imagery.
MUVICO THOUSAND OAKS, CA are all 4K sony. Nice theatre too.
Pretty sure they will do proper 4K if possible for Prometheus...
"Hey... Dan? Dan? Have you read this?"
"No, what's up, Zack?"
"Naw... this can't be right... The Girl With the Dragon Tattoo..."
"Yeah. Fincher. We'll go with Meg and Jen."
"Yeah... but - you don't understand. It was shot on RED."
"Pfff. Who cares. They just use them because they can afford them. And besides, RED was always late with their launch dates. And when the 1DX comes out, even Steven Spielberg's going digital."
"No... no, no, you don't understand, Dan. It's a 4K film."
"Hah... 4K? Whatever -"
"Yeah but it says here -"
"Who cares? 2K is the standard, dudeman. It's the standard for TV and the standard for cinema. What goes down in your lounge room goes down in your multiplex - democracy in cinema. RED's going to collapse trying to sell stuff that nobody needs. Everyone's going 2K. They just want to sell you expensive cameras. Indies are buying DSLRs by the ass-load - and then when they can afford it they graduate to 5Ds. 2K, Zack. 2K."
"I know, man. You don't have to convince me. I came up with that slogan, remember?"
"'DSLR killed the Panastar'. Remember? It's my sig for the Cinema 5D forums."
"Really? I thought you came up with that one, what was it - 'No crew, No lights, No limits'."
"Not me, man."
"Cool. Anyway, you got your 5D yet?"
"Oh, no, not yet. Still saving. I need more hours at the car wash. But anyway... you're not going to believe this. It says here that it's going to be a 4K film."
"Pfff. Yada yada."
"As in... projected... in 4K."
"What? Bullshit. Give me that iPad."
"Careful, it's not mine. Meg lent it to me."
"Hm... you're right."
"I might be right but this is so wrong."
"Pfff! This is crap. You know what?"
"This is a fad. It's just a fad, Zack. If 4K was so good, they'd shoot House with it, right? And what, all these cinemas are going to go to 4K only a few years after going 2K? When nobody can tell the difference? Get real. It's just a stunt. People are so gullible. You know that."
"Think about it! Everything is 2K these days. Projecting them in 4K is going to like magically make them 4K? And who edits in 4K? Nobody makes a 4K monitor. Or a TV. And no DSLR is 4K."
"But some films were shot in 4K recently."
"Contagion. The Social Network."
"What do you mean, "So"?"
"How do you think they're delivered?"
"They're delivered in 2K. Do you you know why they're delivered in 2K? Because 2K is the standard. 2K is enough. For you. For me. For everybody. It's set, Zack. Rock solid. It's backed by a billion-dollar industry. And so, what, some guy, some camera collector who used to make sunglasses is going to come along and make people buy new projectors? WHEN YOU CAN'T TELL THE DIFFERENCE BETWEEN A 5D AND 4K?!"
"I know... I know... it's just showing off. But what if it catches on? Where will that leave us?"
"Okay. Who's got the depth-of-field? Canon or RED?"
"Uh... sorry dude?"
"You know. The most depth-of-field. Who's got the most depth-of-field?"
"Uh, that's least depth-of-field, not -"
"Never mind! You know what I mean."
"Canon. All the way. And Nikon next year."
"Yes. Thank you. If REDs are so good, why aren't they full-frame?"
"I know, man. I know."
"Where's their DSLR?"
"Exactly. If you want the cinematic look, where do you go, man?"
"Yeah, man, Canon! High five!"
"And if 4K is sooooo good, why did Canon blow millions of dollars on a pro-grade 2K rig? Believe me, Zack. Nobody's going 4K except a bunch of rich guys who like over-priced garbage just 'cos it's expensive. They should so be using that money for charity instead."
Congratulations Jim... And thank you very much for empowering your troops to not only make the cameras/code/color science/endless list of huge hurdles to scale... But I would especially like to extend my profound thanks to your Bomb Squad/Sniper Corp-Nate Heartt, Justin Jones, Sean Ruggeri and Travis Sims. Their hard work in the trenches, intelligent client communications and acting as conduit to Uber brains like Deanan/Rob benefitted every single RED owner in world. You guys are the tip of the spear... Thank you!
It will be interesting to compare the look of this new "sensored" version to the original 2009 "filmed" version.
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