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Soderbergh footage at NAB

C

Clayton Harper

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I am excited about Epic, Scarlet and Red Ray but we tend to get a little gadget-geeky on these boards so I just wanted to shout out the footage shown in the Red tent.

After NAB 2008 my most anticipated Red-related thing is a pair of Che movies coming out this year.

At the end of a group of excellent user-generated Red footage we were treated to a collection of clips from The Argentine and Guerrilla directed by Steven Soderbergh.

The first clip featured 2k footage shot with anamorphic lenses and to me these are the most beautiful shots ever captured on Red. The 2k stretch softened the image in such a filmic way that was just breathtaking. We get to see Del Toro in a bunch of settings in the iconic Che outfits and a wonderful muted color pallet of blues, greens and browns.

The second clip had all the amazing sharpness and detail we have come to expect with the Red and starts on an overhead shot of soldiers traversing a river before being ambushed. The detail of the leaves floating on the water surface and the jungle is just spectacular.

When Soderbergh is quoted as saying he feels like calling film and breaking up, he's not engaging in hyperbole.

The camera of the future is here and its available to just about any resourceful filmmaker. Thanks Red team! :biggrin:
 
Agreed, the Soderbergh stuff looked really great.

What was really compelling about it was that it wasn't (just) good looking footage - it felt like it was going to be a killer film, it looked right for the material. The camera was being well used in a dramatic context, not demonstrating how good the chip or codec were (yes, that was there as well). After the first few cuts (especially in the 4K stuff) I wasn't even looking for crispness and range anymore. GET OUTTA THE WATER MAN, THEY'RE GONNA SHOOT YOU!
 
There is something very special about anamorphic lenses on the red. Lord, was the clips played back to back?
 
reality said:
There is something very special about anamorphic lenses on the red. Lord, was the clips played back to back?
Click to expand...
Yes, they showed the 2K anamorphic stuff first, and then the 4K footage directly after.

The anamorphic stuff was okay, but I vastly preferred the 4K shots.
 
Häakon said:
The anamorphic stuff was okay, but I vastly preferred the 4K shots.
Click to expand...

I know what you mean but I think I want to hold the super-sharpness in reserve for moments of ultra-realism. Imagine cutting from 2k in a scene to 4k after something particularly dramatic like a character having an accident or being attacked.

I have a feeling SS has chosen the 2k anamorphic for the older period of Che's exploits and the later film is in the sharper 4k representing a more recent and memorable period.

Nice, well-lit and contrasty footage is just one color in your box of crayons.
 
i actually preferred the the anamorphic. ...different strokes :) and the RED does it all!
 
Do any of you who actually saw the footage think that these are actual frame grabs?

che-01.jpg


che-02.jpg


What do you guys think?

Is that grainy look applied in post or achieved with the camera?
 
agreed, the only way these were from the footage was maybe if these are super enlarged crops or something
 
These don't look anything like the footage... wonder where they came from? Interesting that one is a vertical.

Jim
 
These stills are quite possibly scanned from somewhere too. The grain / noise is excessive.

The Soderbergh footage in the RED theatre looked great. The anamorphic had it's own qualities that set it apart, even though it was noticeably softer than most of the full 4K footage, but I loved it i. The 4K river crossing scene was just awesome. Very crisp and detailed with great color.
 
These are obviously production stills, back on topic...I agree with everything lordnumberzero had to say. I have spent several years in and out of Cuba, shooting a short and working pre production on my feature there so I have been anticipating these Che pictures for quite some time...specially after I found it would be shot on RED!

1st I will say again the "Shot on RED" demo that screened before Soderberghs Che clips blew me out of the water, I was floored by the initial presentation and after seeing it in its native resolution on 16x9 screen I had to watch it again, breathtaking images from so many different styles and looks really demonstrated the strengths of RED.

Back on topic.., the Che clips that followed were equally as impressive and I also loved the way the anamorphic glass softened up the picture...this was a clip from a feature film and thats what I felt like I was watching, I was not even thinking about what it was shot on...amazing.

The second Che clip came from Soderbergh's 2nd RED feature which he opted for 4k (non anamorphic)...much much sharper, vivid and very clear...similar to the modern film stocks I see these days. Not sure why he decided to change it up but perhaps I will figure it out when I see the movies...they both lend to a certain feel that worked for both teasers. Go see these movies when they come out

Now hurry up and cut the damn thing cause we want to see it Mr.Soderbergh. Congrats to everyone who showed work this year at NAB, it was phenomenal...watching this material in 4k on a big screen forged a fire within me that could see great things on the horizon for all filmmakers.

Cheers.
 
Haskell said:
These are obviously production stills, back on topic...I agree with everything lordnumberzero had to say. I have spent several years in and out of Cuba, shooting a short and working pre production on my feature there so I have been anticipating these Che pictures for quite some time...specially after I found it would be shot on RED!

1st I will say again the "Shot on RED" demo that screened before Soderberghs Che clips blew me out of the water, I was floored by the initial presentation and after seeing it in its native resolution on 16x9 screen I had to watch it again, breathtaking images from so many different styles and looks really demonstrated the strengths of RED.

Back on topic.., the Che clips that followed were equally as impressive and I also loved the way the anamorphic glass softened up the picture...this was a clip from a feature film and thats what I felt like I was watching, I was not even thinking about what it was shot on...amazing.

The second Che clip came from Soderbergh's 2nd RED feature which he opted for 4k (non anamorphic)...much much sharper, vivid and very clear...similar to the modern film stocks I see these days. Not sure why he decided to change it up but perhaps I will figure it out when I see the movies...they both lend to a certain feel that worked for both teasers. Go see these movies when they come out

Now hurry up and cut the damn thing cause we want to see it Mr.Soderbergh. Congrats to everyone who showed work this year at NAB, it was phenomenal...watching this material in 4k on a big screen forged a fire within me that could see great things on the horizon for all filmmakers.

Cheers.
Click to expand...


It's a shame Epic won't have a 4x3 sensor so we can work properly with anamorphic lenses.

Not to sound like a broken record or anything...

But... it's a shame Epic won't have a 4x3 sensor so we can work properly with anamorphic lenses.
 
Perhaps Epic still is in development and may end up with a 4x3 sensor?

Also, perhaps the design of the Camera may end up having the controls on the smart side rather than the back?

RED has listened quite a bit to user feedback before... it certainly can't hurt to try.
 
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