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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

TATTOO

Congrats to my friend Dave Devlin on some excellent photography in this short. Great use of atmosphere, backlight and mixed color temps to add depth and texture to the images. Some nice camera blocking as well so cudos to Bill Paxton and Dave on that as well. Very interested to see this projected at 4K on Tuesday.

:coolgleamA:
 
LENSES ????

LENSES ????

When I saw the TATTOO at the NAB your team mentioned that they used RPP and Ultra Prime lenses to shoot I like to now in what case (scenes) you use the RPP OR THE Ultras .... Gracias David Torres
 
Every time I watch a movie done with Red tech (the four or five I've seen), and should be paying attention to technical details like motion, or clarity, I always get caught up in the story and forget about what it was recorded on. While not obvious, I would reckon that's my compliment. This short, Tattoo, was no different.

As a note, this isn't true for other digitally recorded movies, especially ones recorded with the Viper. They stand out like a sore thumb, to me, even if I like the movie.

Good job to everyone involved.
 
Lenses were Master Primes and RPPs.

Jim
 
great work guys.

The camera performs amazingly well under what i imagine was low light for a lot of it. Hope you find the time to make another short soon.
 
Christopher Probst said:
Congrats to my friend Dave Devlin on some excellent photography in this short. Great use of atmosphere, backlight and mixed color temps to add depth and texture to the images. Some nice camera blocking as well so cudos to Bill Paxton and Dave on that as well. Very interested to see this projected at 4K on Tuesday.

:coolgleamA:
Click to expand...

David Devlin did a great job and it was a pleasure to watch him work. Hope you enjoy the 4k projected version.

Graeme
 
Mike Isler said:
I'm curious about lens choice at 5:17...Sharp in the front, sharp in the back, but soft (on the gun) midway between?
Click to expand...

Yes, I'd say a split-focus diopter.

Interestingly, here is a shot from "Tombstone", where actors, Bill Paxton (Director of "Tattoo") and Sam Elliot are both in focus using this method. ;-)

Tombstone.jpg
 
Simply Amazing. You forget why this was posted in the first place. Just a great viewing experience. Then you remember, oh yeah it's showcasing what the film was shot on. EPIC!
I remember how beautiful the images were when the first 'Matrix' movie came out. The images shot on Tattoo are equally if not more fascinating than those of the Matrix. As filmmaker's, the yearning inside grows deeper to have a tool like this. At a price like this it's not impossible. Thanks for giving us all hope, Jim.
All those years, camera companies made it near impossible to own a professional camera: THIS IS PAYBACK SUCKERS!

God Bless you Jim & Red team.
 
Hey guys, I liked this better the second time around. NAB was good, I think I enjoyed the 3D stuff more there, pretty funny short. This looks very nice on the screen, wish it could be in 1080p, but certainly understand.

Looking great and a special shout out to Bill Paxton, whom I don't even know but have always liked his work. Great job!
 
Jarred Land said:
Maybe we should have a bit of a Bake-off.. If I provide a 2k ProRes LT ( for bandwidth sake ), and see how close you guys can get to it in your various methods of X264 encode... Thoughts?
Click to expand...

Jarred Land said:
sounds good guys... Ill render it out overnight and upload it tomorrow... this should be fun.

one rule.. no creative decisions on color or brightness... if you guys try and change the way we chose to present this movie, I will hunt you down and cut your nuts off :)

deal?
Click to expand...

Hi jarred ,
no more 2K proRes LT ?

thanks

g
 
I put this on my 50" plasma, and even at 1K x264 compressed, it still looked pretty darn good on my "big-screen." Of course, it was no comparison to the 4K version at NAB. After watching it several times, I started to speculate on the symbolic elements of this film. Other than the obvious dragon tatoo allusion to the Red Dragon, there was another character that was of particular interest.

In the opening scene, when The Stranger walks down the alley to James Hong's shop, there is another smaller dude with a spiky, almost dragon shaped hair cut that passes by The Stranger. Upon walking up the stairs, The Stranger also takes a second look at the spiky hair dude.

I speculate that the spiky dude represents the Epic. He just walked out of James Hong's shop to build the killer camera. Moments later, the The Stranger (Red Dragon) arrives (bigger, stronger, faster than his predecessor Epic). The Stranger's glance at him from the stairs confirming some type of prior recognition, thus the Red Dragon looking back at the Epic.

Any thoughts? Or am I reading too much into this story.
 
Tatoo LT ProRes looks much better than for example The Social Network MX shots that probably were done with the same grading approach

as a kind of warmer Cooke look (LightIron Cioni/Vertovec MX grading style)

that means image quality wise in terms of resolution/color/DR/latitude Epic has got a better camera than RED1 MX.
 
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