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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 :)

"OZ: The Great and Powerful" shoots EPIC

I've certainly seen some digital like that - no texture, plastic camcordery look, but it doesn't have to be that way. Digital is now a very very valid way of making high quality moving images. It doesn't invalidate film, just as film doesn't invalidate good digital cinema, but like with all tools and media, there'll always be good and bad examples of both.

Graeme
 
Film adds a texture all its own, through its grain structure. But in many ways that texture is an overlay on the subject matter. It has had a unifying effect on elements in the frame, like an impressionist painting. With digital imaging, we can still bring the texture of film into the finished look, but digital images allow the native textures of the subjects in the frame to come out. I'm more aware of the subtleties of fabrics in costumes, surfaces of sets and environments and the sensual rendering of skin and hair, its so much richer visually. Previously, these textures would be lost beneath the veneer of the emulsion- overtaken by the grain- softened. But the frame is so much more alive for me now. Its been a surprising upside to the Red footage I've seen. And its only really possible at resolutions above 2K, IMO.
 
OMFG!!! Sam Raimi Directing Milena Markovna, James Franco and Zach Braff...ZACH BRAFF...ON EPICS!!!!

This film cant come out soon enough.

On a side note I just read the bio of L.Frank Baum http://www.imdb.com/name/nm0000875/bio - Absolutely gob smacked...those quotes along with that incident put him up there with Hitler...WTF?
 
This is awesome news! We've known about it here in the D for a few weeks or at least were highly speculating Epic because of 3D... Now the big question is workflow. A few of us just went through Fotokem's nextLAB training. It seems pretty solid. Nice to have something that allows one to track, manage, produce dailies, and apply LUTs all in one program... This show is the biggest film weve had yet and I am proud that it is on Red. Congrats Red Team!
 
Congrats on this one, Jarred... Disney is something ;-) I am proud for you !


Greetings from old continent,

E :-)
 
Martin Stevens said:
Long live film-like grain. I hope to see lots of digital films add grain into the release masters. Film-like grain is sometimes as important as canvas texture on an oil painting.
Click to expand...

I've heard the same sentiment from several major old school directors before (and even some newer directors, like J.J. Abrams). Film grain and texture can be added through grain management to any project, and it's a normal step in the visual effects workflow. It has to be done mainly to add consistency scene-to-scene, so no shot suddenly pops up as being much noisier (or grainier) than the shots on either side of it.

Sam Raimi has captured some incredible, striking images throughout his career, and I don't doubt he'll do great work with the Epic.
 
Wonderful news!

Don't forget that Sam's Spider-man 2 was completely done in 4K (scanning, grading and recording).
It was the best looking film back in the days...
 
Philip Orlandic said:
Wonderful news!

Don't forget that Sam's Spider-man 2 was completely done in 4K (scanning, grading and recording).
It was the best looking film back in the days...
Click to expand...

Yes, though "completely" is a bit misleading -- efx and titles were done at 2K, and the efx shots constitute some fair amount of running time. I screened a 35mm reel about a year after release at some private showing and looking for the difference between 4K and 2K, it started to become clear that the 2K efx shots had more sharpening applied. So they didn't pop out because they looked softer than the 4K D.I. work on the live-action, and generally the editing was so fast with the 2K efx shots that the sharpening didn't really stick out unless you were looking for it.
 
I hope they play up the monetary allegory aspects of the story. Maybe a general audience, perhaps even the kids, can see the wisdom of sound money (gold standard) after seeing it.
 
Paul Cook said:
OMFG!!! Sam Raimi Directing Milena Markovna, James Franco and Zach Braff...ZACH BRAFF...ON EPICS!!!!
Click to expand...

Zach's been rockin our Epics on a special project - he's kick-ass

IMG_4138.jpg
 
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Awesome Mark! I'm a fan of his, will be on the lookout for more posts about this "special project" :)
 
Great news :)

Zach's a great guy. Had the pleasure of meeting him on the set of Scrubs once. Excited he's shooting Epic (loved Garden State)
 
Who is the stereographer on this!? We are looking for a great one. If this one, or any other stereographer happens to also be based in Michigan, its a huge bonus for the project I have coming up.
 
Let's hope that the "Epics" have less of a sound footprint than the other Red Camera's. While I find the Red line very pleasing to the eye,
I don't feel that same way about their sonic attributes in regards to the noise that they make on the set.
Also, "Drag me To Hell" was shot on 35mm. Sam is a great guy to work with. We discussed shooting on "Red" during the Sound Mix
of "Drag Me To Hell". To see him shooting on "Epic" says a lot about how far "Red" has come!
Now just sort out all that damn broadband fan noise!!!
 
Dr. Sound... check the menus.

Jim

dr.sound said:
Let's hope that the "Epics" have less of a sound footprint than the other Red Camera's. While I find the Red line very pleasing to the eye,
I don't feel that same way about their sonic attributes in regards to the noise that they make on the set.
Also, "Drag me To Hell" was shot on 35mm. Sam is a great guy to work with. We discussed shooting on "Red" during the Sound Mix
of "Drag Me To Hell". To see him shooting on "Epic" says a lot about how far "Red" has come!
Now just sort out all that damn broadband fan noise!!!
Click to expand...
 
dr.sound said:
Let's hope that the "Epics" have less of a sound footprint than the other Red Camera's. While I find the Red line very pleasing to the eye,
I don't feel that same way about their sonic attributes in regards to the noise that they make on the set.
Also, "Drag me To Hell" was shot on 35mm. Sam is a great guy to work with. We discussed shooting on "Red" during the Sound Mix
of "Drag Me To Hell". To see him shooting on "Epic" says a lot about how far "Red" has come!
Now just sort out all that damn broadband fan noise!!!
Click to expand...
Marti, never thought I'd see you here in the RED forums. For anyone who's not aware of his work, he does some great stuff. He's a good resource to have here on Reduser.
 
The Wiizard of Oz is still one of my favorite films of all time if not the favorite.
Can't wait to see this one.
Yeah!
 
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