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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 :)

The Dark Knight Rises -- IMAX

As soon as RED releases a sensor (besides MX) that can perform like, if not beyond IMAX, the last few people shooting on film won't make a move over to digital.

MX on the EPIC is great...but not as immersive as IMAX. Still need FF IMAX aspect ratio. I'm pretty sure one of the reasons Chris Nolan decided to shoot on IMAX is to have the audience RIGHT there in Gotham, experiencing what Batman is experiencing.

That's how I felt watching The Dark Knight.
 
Chris Parker said:
and for the record, i don't blame him. if you can make it work for budget, film is still a great looking acquisition medium.

he'll have a tough time 10 years from now shooting on film, since there won't be any established infrastructure left. but for now, he can do what he likes. more power to him i say. guy makes good movies.
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they are already having a hard time. doing Inception they could barely find the materials they needed to cut the film on a steinbeck. they were paying a premium for all the things they needed, and one day those things are gonna run out. him and wally have explained that they do their best no to bring their film into the DI because they'll feel like they'll lose control of the film. wonder how they'll feel once they have no choice in the matter anymore.
 
I think it'd be an interesting challenge for Jannard and Team Red; Create a camera that will change the opinions of Chris Nolan and Wally Pfister.

It's no secret that they love to shoot handheld, so it's not IMAX vs. EPIC, it's EPIC vs. Anamorphic. I think the only way to turn Chris to digital, and specifically Red, would be to create a camera that captures true 6-8K images, has unarguably better highlight latitude, is extremely simple to set up on a shoulder rig, and has color replication accuracy that equals film. I know that Nolan is simply loyal to whatever format will give him the absolute best image, and right know for practical use he feels as though Anamorphic 35mm is the best. I think it'd be interesting to see Chris and Wally's opinions of a Red camera if the next generation of EPICs meets those "standards".
 
Keegan O'Brien said:
I think it'd be an interesting challenge for Jannard and Team Red; Create a camera that will change the opinions of Chris Nolan and Wally Pfister.

It's no secret that they love to shoot handheld, so it's not IMAX vs. EPIC, it's EPIC vs. Anamorphic. I think the only way to turn Chris to digital, and specifically Red, would be to create a camera that captures true 6-8K images, has unarguably better highlight latitude, is extremely simple to set up on a shoulder rig, and has color replication accuracy that equals film. I know that Nolan is simply loyal to whatever format will give him the absolute best image, and right know for practical use he feels as though Anamorphic 35mm is the best. I think it'd be interesting to see Chris and Wally's opinions of a Red camera if the next generation of EPICs meets those "standards".
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I very much agree with you, Keegan. And knowing that RED has had plans for future sensors to exceed 6-8K images, it's only a matter of time (and delivery dates hehe). Whatever this RED DRAGON sensor upgrade is, I can only imagine it will be like what MX was to the R1, but only to the EPIC.
 
Jarek Zabczynski said:
I'm just happy he's not going 3D. After a run of seeing 3D films at the theater, I recently saw a couple in "good ol" 2D, and man it was a great feeling. 2D still "feels" better and let's me get more immersed in a good film over anything 3D I've seen.
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Agree 100%. I find current 3d distracting and an eyestrain that doesn't add to the movie experience. I will make an exception for a movie that's going to throw stuff at my face, like Piranha 3d or My Bloody Valentine, otherwise I go for the 2d option if it's available.
 
They've been shooting in and around Pittsburgh a ton, but I haven't snuck over to the sets to see what cameras they're using.
 
IMAX aspect ratio is 1.44:1. Anamorphic is 2.39:1. That's a big difference, especially when cut together.

Anyone know of any anamorphic lenses that can cover IMAX? I guess they don't or guys like Pfister would be using them all the time. They'd have to be somewhere between 1.3x and 2x lenses.
 
Dustin Sims said:
IMAX aspect ratio is 1.44:1. Anamorphic is 2.39:1. That's a big difference, especially when cut together.

Anyone know of any anamorphic lenses that can cover IMAX? I guess they don't or guys like Pfister would be using them all the time. They'd have to be somewhere between 1.3x and 2x lenses.
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Cutting them together really isn't much of an issue if you switch the formats scene by scene. With an IMAX screen's size both ratios are still huge, the audience just has a "Wow" moment when it fills the whole screen, it's not aa negative. And of course for Blu-ray the IMAX ratio is cropped to 16:9, so the difference isn't very jarring at all. A lot of people don't even notice.
 
Digital technology logarithmically increases in quality. We're just starting to hit the interesting part of the curve where that fact becomes noticable. If someone isn't interested in what digital technology is doing today they have to keep in mind that in 8 years you probably won't have just twice as good of cameras you'll have 16x better cameras. And 2 years after that 32x better cameras... and 2 years after that...

Digital is *competitive* now. You'll have to be an idiot in a couple years to use something else. Film isn't magic. Anything it can do can be simulated with a capture device which has a superset of its resolution and color space.
 
Gavin Greenwalt said:
Digital is *competitive* now. You'll have to be an idiot in a couple years to use something else. Film isn't magic. Anything it can do can be simulated with a capture device which has a superset of its resolution and color space.
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Realistically speaking the soonest I will ever shoot a film with Panavision Anamorphic lenses sitting next to a panaflex yelling action will be a couple years from now, you may think I'll be an idiot if I end up doing that but I sure won't feel like an idiot, I'll feel like a real film director... not that I don't already feel like a real film director.
 
Despite the IMAX camera crashing to the ground, it survived just fine. The mag was damaged and the mattebox. But the camera has not missed a beat. They did a quick registration test and on with the show. From my experience with their shoot here is Pittsburgh, it looks like they are shooting the same amount IMAX to Anamorphic as Dark Knight. The fight/action scenes are IMAX. Everything else is anamorphic.
 
Jeff Garton said:
Despite the IMAX camera crashing to the ground, it survived just fine. The mag was damaged and the mattebox. But the camera has not missed a beat. They did a quick registration test and on with the show. From my experience with their shoot here is Pittsburgh, it looks like they are shooting the same amount IMAX to Anamorphic as Dark Knight. The fight/action scenes are IMAX. Everything else is anamorphic.
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But the two Bane monologues we've seen them film were shot in IMAX...

Thanks for the first hand report though.
 
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65mm mags are so heavy... 15 cameras? I wonder how many addt'l 2nd's/loaders and camera PAs... I just worked on PT Anderson's new one here in HI, it was 65mm. Loved the work out, especially up and down the beach. 65mm is no joke.
 
Dark Knight shooting here in Pittsburgh all Month!
 
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