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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 :)

How much of "Wanted" was shot with RED?

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cinemano

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Hello

Was the entire movie "Wanted" shot with a RED?
Or was it just a 'B' camera?

Just curious :)

George
 
Several days ago I had the opportunity to ask this question directly to Timur Bekmabetov. The answer was - nothing. They do some tests with red prototypes during filming Wanted, but there is not a single frame "shot on Red" in this movie.
On the other hand, Timur have very positive view on Red. He said that at the moment they filmed Wanted camera was too "raw" for real work, but for now Red is usable and keep growing quickly.
 
Ouch. Maybe RED should remove that from the website.

edit: maybe not
 
Nikolai Vavilov said:
Several days ago I had the opportunity to ask this question directly to Timur Bekmabetov. The answer was - nothing. They do some tests with red prototypes during filming Wanted, but there is not a single frame "shot on Red" in this movie.
On the other hand, Timur have very positive view on Red. He said that at the moment they filmed Wanted camera was too "raw" for real work, but for now Red is usable and keep growing quickly.
Click to expand...

You think he is really going to tell you??
RED would not keep it on their site if they really
"did nothing". Plausible denialablity....or CYA.
 
You think he is really going to tell you??
RED would not keep it on their site if they really
"did nothing". Plausible denialablity....or CYA.
Click to expand...

what?? do you really think the guy would lie about this? why??? what would he gain from it?
 
So what well known or theatrical release was shot on Red so far?
We may find out in a few months that Red is a hit and run. For now I am still asking myself is it a hit or run?
 
Red Guy: I shot an interview with Timur, and asked the question how they use RED in movie before the interview begins, I was just curious being future Red owner.
I think that the situation looks like this: Jannard brings RED prototype at the "wanted" shooting site, Timur agreed to test RED side by side with the 35 mm camera, and said that _maybe_ he will use RED footage in the movie.
In my opinion there is nothing against RED, maybe kind of misunderstanding between RED Company and Bekmambetov.

Again, Bekmambetov speaks very well about Red, but he says clearly (and I don't see any reason from him to lie) that they don't use any Red footage in "Wanted".
 
We were on set while the RED was used on Wanted. We have been told by the VFX supervisor that RED footage would be in the final cut. If that changes, we will be the 1st to tell you. We understand that the final cut is not done yet.

Soderbergh's "Guerrilla" and "The Argentine" are the 1st all RED movies. Steven is set to shoot "The Informant", starring Matt Damon in Decatur, IL. soon. "Game" was shot all RED and is "in the can". Talyor and Neveldine have another big budget movie in the works that is planned to be shot all RED. You can see the complete list on another thread.

Jim
 
It's great to hear about these major Features using RED exclusively, but perhaps even better is that after finishing those projects, these DPs and Directors are choosing RED for their next projects.

This speaks volumes about their confidence in the Camera and their satisfaction with the results.
 
The RED facts on Wanted

The RED facts on Wanted

My name is Jon Farhat. I was the visual effects supervisor and it was through my association with Mr. Jannard that we agreed to introduce the RED camera prototype to the film's DP, Mitch Amundsen.

We were all aware that the camera was in it's early stages, beginning at the point of only an ON/OFF button.

Even then, the images we captured, (albeit a slightly different file structure) the images were stunning. We decided, with the DP that we would take on the project of using the camera, assuming constant updates of software and bodies as the show progressed, and shooting alongside our film cameras. We were also excited to be the first feature film to use RED.

The association proved invaluable. Jim has always been committed and honest to any project he tackles. And this commitment to our show, at his cost of equipment, travel and living and even placing a tech with our show is just what you would expect of this guy. It was a real class act.

Mitch was able to offer invaluable advice about the ongoing construction of the camera. Todd Schlopy the first AC was a gold mine of ideas and constructive criticism along with our operators George Richmond and Chunky Richmond.

Over the course of the movie, Jim flew out 4 times, each with new bodies, and improved software, much of which were gleaned from the previous trips. During those times, we shot about 10 scenes, alongside the film cameras. Mitch, George, Chunky and even myself all operated.

Before we left Prague, we took the footage shot so far and filmed them out. We scanned the film at 4k, and for every shot would follow with a 4k from the RED. Both were color corrected in the Baselight to match. I screened the results for Mitch and his team. They couldn't tell the difference. Seriously. And Mitch and Andy have sharp, sharp eyes. Mitch did however figure it out when he pulled the mask and the RED aspect ratio was 2:1 instead of the 1.77 (16:9) we were contracted by the studio to deliver. It wasn't until later that RED opened the sensor up to 16:9.

In fact, it would be that 2:1 AR that would begin our problems to intercut the RED footage in the film. And, since we just shot side by side, we already had a film take. Had we shot the entire film with RED, it would have been much easier, but instead it wasn't until the show really finished shooting, that the camera was getting ready for the war.

Back then, we didn't have all these great software tools for extracting and converting the image. Metadata wasn't fully implemented. Yet, it was apparent to all, that this was a special moment in filmmaking and the camera crew embraced it, even if the only result was to have the camera they'd been dreaming of, by the time the show ended.

In Summary:

Wanted shot with RED, along side film. Not for the entire movie, but for many scenes. Maybe Universal will let me show it to you all, but certainly not until the film opens. It was one of the most successful collaborative ventures I've ever been involved in. I know that, with the input from the Wanted crew and the blessings of Timur and the producers to allow us to put this camera to task on their set, because of this cooperation, RED is the camera it is today.

I still have that film, the neg and files and I dare anyone to tell the difference. We had to dumb the RED down a bit but it totally inter-cut. We are still trying to intercut a couple shots, just to dare anyone to find them.

I hope this clarifies some of the confusion of the Wanted RED issue and what the purpose of the alignment is.

Jon Farhat
 
and i totally agree with casey. the most significant thing that is happening is that soderbergh and the 'Game' guys are going back to RED. That is so much more telling than some movies still NOT shooting RED.

And the fact that Jon is saying that when compared with 35mm scanned to 4K side-by-side in a Baselight and nobody could tell the difference? Landmark.
 
So much for the big conspiracy... :)
 
Mitch was able to offer invaluable advice about the ongoing construction of the camera. Todd Schlopy the first AC was a gold mine of ideas and constructive criticism along with our operators George Richmond and Chunky Richmond.
Click to expand...
Over the course of the movie, Jim flew out 4 times, each with new bodies, and improved software, much of which were gleaned from the previous trips. During those times, we shot about 10 scenes, alongside the film cameras. Mitch, George, Chunky and even myself all operated.
Click to expand...

Now that's what i call a hands on approach to developing a ground breaking camera!
very cool indeed!
 
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