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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 :)

Diary of The Amazing Spiderman

Michael Cioni

Michael Cioni

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6381 DeLongpre | LA | CA | 90028
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www.lightiron.com
If you're an EPIC owner, a lot of what went into making the EPIC such an amazing camera is thanks to cinematographer, John Schwartzman. From camera features, to color science, to rig configurations, all of us owe a debt of gratitude to the creative professionals that helped blaze d-cinema trails. Amazing Spider-Man DP John Schwartzman and 2nd unit DP Peter Collister were literally at ground zero working with RED to make EPIC's feature debut a complete success. But when a project like The Amazing Spider-Man comes out nearly 2 years after the camera debuted, it's easy to scramble the timeline of events.

Working with Mike Seymour at FXGuide, I put together a small diary of poignant events that ultimately led up to the shooting of this film in EPIC 3D. It was, without a doubt, one of the most exciting seasons of my career. During the time of prepping for this film, technological "givens" that we often take for granted today were not much more than assumptions, hopes, evaluations and adjustments. For those of you that enjoy a bit of history with the tools you use, I hope this personal account inspires you to push the boundaries of what is possible.
m


http://www.fxguide.com/featured/shooting-diary-of-spider-man-bringing-it-to-the-screen/
 
I have admired Michael's work for a while, and it was great to put this timeline together - we all shoot each day with RED's but rarely do we have as much at stake as these guys did ... on a SONY picture,... remarkable
 
Nice read. Thanks Michael!
 
Michael Cioni said:
If you're an EPIC owner, a lot of what went into making the EPIC such an amazing camera is thanks to cinematographer, John Schwartzman. From camera features, to color science, to rig configurations, all of us owe a debt of gratitude to the creative professionals that helped blaze d-cinema trails. Amazing Spider-Man DP John Schwartzman and 2nd unit DP Peter Collister were literally at ground zero working with RED to make EPIC's feature debut a complete success. But when a project like The Amazing Spider-Man comes out nearly 2 years after the camera debuted, it's easy to scramble the timeline of events.

Working with Mike Seymour at FXGuide, I put together a small diary of poignant events that ultimately led up to the shooting of this film in EPIC 3D. It was, without a doubt, one of the most exciting seasons of my career. During the time of prepping for this film, technological "givens" that we often take for granted today were not much more than assumptions, hopes, evaluations and adjustments. For those of you that enjoy a bit of history with the tools you use, I hope this personal account inspires you to push the boundaries of what is possible.
m


http://www.fxguide.com/featured/shooting-diary-of-spider-man-bringing-it-to-the-screen/
Click to expand...



That was such a pleasure to read. Thank you so, so much for sharing.
 
Great Read. One question. What makes 5:1 the sweet spot for compression?
 
Many thanks for the words Michael.... A wild ride indeed but we had the best minds and support at our side 24/7 from ground zero....

Cheers,

Peter
 
Great article.....thanks!
 
Thanks Michael for sharing. You are one of the key members of reduser, and this place wouldn't be the same without you and your excellent posts and contributions. Thanks for keeping us posted and for spending your time with us!
 
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