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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 Lovely Bones...

hello Jim!
I was stunned nobody was able to answer your question;(what is a DSMC) in the previous thread.
DIGITAL STILL AND MOVIE CAMERA is the answer.As i said Scarlet should be 4k capable at least sensor wise before compression so Epic will be a real epic with a 6 or 7k capable sensor.As you said the market has changed for real.
Tools even for a 8k capable workflow are out there right now if people know where to look.:nerd:

ALAIN
 
8k would be very nice and completely useless.

I don't think there is a lens that would resolve 8k and, if there was, how would you propose to pull focus with CoC around 3 microns?

Not to mention storage and horse power needed to process the footage.

Yeah, 12+ stops would be exactly what doctor ordered.

I think we are going off topic, though...
 
8K makes perfect sense for 65~70mm/ IMAX. I think for S35mm, 6K would be the absolute upper limit and EPIC's 5K looks like a real good number as the bayer pattern sensor when sampled down should give us razor-sharp 4K images.
 
NUFI said:
hello Jim!
I was stunned nobody was able to answer your question;(what is a DSMC) in the previous thread.
DIGITAL STILL AND MOVIE CAMERA is the answer.

ALAIN
Click to expand...

Very close...but as per Jim's thread-opening post on his DSMC thread, DSMC stands for "Digital Still and Motion Camera".

A movie is simply one classification within the diverse array of motion production types. Similarly, EFP isn't "electronic film production", but rather "electronic field production". Media convergence, typified by RED One, is a focal point of converging industries and to avoid confusion it often involves re-thinking our use of old traditional terms. It would highly surprise me if someone produced a standard "movie" with the RED DSMC - but they will undoubtedly capture lots of "motion" for a wide variety of production types.

No worries, people will call the DSMC whatever they want in the long run, but a good starting point is to call it accurately what Jim himself called it. Whatever people call it, I expect it to be a very cool, and versatile camera system!
 
Jeff Kilgroe said:
8K makes perfect sense for 65~70mm/ IMAX. I think for S35mm, 6K would be the absolute upper limit and EPIC's 5K looks like a real good number as the bayer pattern sensor when sampled down should give us razor-sharp 4K images.
Click to expand...

This is correct. Ron Fricke's new film, Samsara, which is being shot on 65mm, will be scanned and DI'd at 8K.

For S35, 6K is ideal because it will downsample perfectly for a 4K master. Many of us believe that 4K will be the next 1080p.
 
Jeff Kilgroe said:
8K makes perfect sense for 65~70mm/ IMAX. I think for S35mm, 6K would be the absolute upper limit and EPIC's 5K looks like a real good number as the bayer pattern sensor when sampled down should give us razor-sharp 4K images.
Click to expand...

Absolutely agree with you.
 
Bump for the status on some photos of the shoot.
 
NUFI said:
...
Tools even for a 8k capable workflow are out there right now if people know where to look.:nerd:
ALAIN
Click to expand...

Alain, please be so kind and send a few links about 8k workflow/tools. i am really curious to read something about it.

thank you,

filip
 
Hi Jim

Hi Jim

Jannard said:
While the majority of Peter Jackson's "The Lovely Bones" was shot on film, I was just told that "Lovely Bones Visual Effects elements and New Zealand aerials were shot on Red". Peter also told me he would send pics for us to post.

BTW... some on Build 16.

Jim
Click to expand...
Hi there Jim,
Des here--I scaled your 20 footer Harmony for the House-- I'm back down under for a few months and just to say firstly WOW how incredible the new Cameras seem-PL will just LUV the 6x17 -Ha! congrats to you all.
As an aside to Peter Jackson--just to add I am a K one W one as well and from Wellington same town as Peter plus spent many a summer as a kid around the Wairarapa Plains where he shot the WWar promo.
Ngila Dickson his Stylist is a good friend of mine also.

Kudos to all at RED and hope we can catch up again in LV.

Des Williams
(Sea Changing on the Great Barrier Reef at present!)
 
Jannard said:
Kinda like going from making motorcycle handgrips to digital cinema cameras... :-)

Jarred, Deanan and I were lucky enough to spend 3 days with Peter last year (Crossing). He is delightful, wicked smart, driven and has a crew that will follow him into battle at the drop of a hat. What a great experience for all of us to see Peter in action.
Jim
Click to expand...

I'm not surprised to hear that about Peter

I've watched everything he made (except Crossing the line :( ) and read everything written about him, he's not only a great director, he's a teacher to all aspiring filmmakers and a big inspiration to everybody.

and sending some pics to post? That's soo Peter! and that's what make him closer to the community that any other director. Can't wait to see his the lovely bones
 
Jannard said:
While the majority of Peter Jackson's "The Lovely Bones" was shot on film, I was just told that "Lovely Bones Visual Effects elements and New Zealand aerials were shot on Red". Peter also told me he would send pics for us to post.

BTW... some on Build 16.

Jim
Click to expand...

Any more news on the R1 role/pics yet?
 
Was sort of sad to watch the featurette to lovely bones and not see the red in action. However the featurette for district nine really gets the blood pumping.
 
RED is obviously well past the point of compromising anyone's vision,
but the larger Epic sensors (and possibly larger yet as the technology
evolves) will not just offer "better quality" output, but, perhaps more
importantly, will demand more from the filmmaker if he/she is to fully
realize its potential.

But not only in a qualitative sense, where we simply apply
our voices to sensor improvements using our standard language,
but more to the degree of allowing us to push beyond the
boundaries of that language.

So, we might not yet even have a completely adequate
language to express much of what will be possible when
using these (upcoming) sensors. Perhaps this is the challenge
that awaits the already formidable abilities of our best story
tellers and image-makers.
 
vita brevis said:
Was sort of sad to watch the featurette to lovely bones and not see the red in action. However the featurette for district nine really gets the blood pumping.
Click to expand...

Second that. Not even a RED in any of the VFX shots.
 
Watched "The Lovely Bones" an excellent movie with an outstanding ensemble cast.

Finally got to meet Peter who did a Q&A after the screening in the Paramount Lot's main Theater with Fran and cast members Saoirse Ronan, Mark Wahlberg, Michael Imperioli, Rose McIver, Susan Sarandon and Stanley Tucci.

Chatted briefly with Peter about D9, and how he missed the fun of shooting in Soweto.

The RED Logo comes up in the credits, so I asked Peter about the use of digital cameras on Lovely Bones, and he said there are around 20-30 Red shots in movie comprising of blue screen and aerials. The macro shots where done with the Iconix camera.

Jonathan
RED Camera Supervisor on District 9
 
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