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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 :)

2012: The Year of 4K

L. Langer said:
It was film, Sony 1080p, and Viper 2K. Info I pulled straight from WB MPI (who did the DI) for the list says they did the DI at 4K but that might be an error on their part though I couldn't find anything to confirm what resolution the DI was done at despite common sense suggesting 2K given the use of digital video for most of the movie.
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The Viper was always an HD camera. There was never a "Viper 2K".
 
Evin Grant said:
Benjamin Buttons (Great looking movie BTW) was shot on the Viper, a 2K/1080P camera, so no going back to the negative there for 4K.
Mike, Spiderman 2 (Or maybe 3) was one of the first films to actually do the VFX at 4K, it's the movie that convinced most producers to stick to 2K :emote_head_explode:
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That would be SpiderMan 3, and not all of the VFX for that were done in anything larger than 2K either. I remember when SpiderMan 2 was touted as being one of the first "4K DI's" and how silly a lot of us found that claim when such a large percentage of the shots in the movie were either full on VFX shots or touched by VFX in one way or another.
 
M Most said:
The vast majority of the listed titles were shot on film. I'm not sure that they all went through a 4K DI process, though. And pictures like Spider Man 2 were about 75% or more VFX shots - all done at 2K.
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So vrtually none of these were a true primarily Red film? Can I guess a shot in cat woman that was done on Red, the one where they are in the dark kissing or something and poor Haely looks as white as her co-star. I mean, the skin tone differences are enormous over the film (but great film compared to what I was expecting though, did not really expect it to be much). Saw pictures of the Spiderman movie in Empire this week, the same color toning, and so dissapionted they rebooted it, yuck, won't be able to see Kirsten again ;) or the main lead in one more film (3d on Red).

Alright, here is a hot topic. How does the Red 3d setup on this film work? It has a sort of sheen on the skin tones etc, similar to the sort in magazines (what was the name of that slide film type they used to use?). It occured to me that shotting through a half mirror in a 3d system would do that.
 
Hrmm...well in some cursory checking, it looks like a lot of the info I got directly from Warner MPI contradicts IMDB but I can't find anything that is 100% certain for them other than the restoration work that everyone states was completed at 4K. Poo. At least the eFilm stuff is correct or seems to be at any rate. Wayne, Catwoman came out way before RED had any cameras available, so there's no RED footage in it. If you want to dig up some great Spiderman 3D information, just google some of the people involved and you'll find some good stuff eventually. Unfortunately, there have been a lot of articles put out lately that use the search keywords you'd be using, so you will have to sift through a lot of stuff. I remember finding a pretty nice write-up about the DI workflow in 3D that you'd probably like, but alas, I did not bookmark it.
 
Who did I see saying Cat Woman had Red in it. Is it really that old, now I feel older. But still, I wonder what they used to shoot that scene I mentioned. Maybe it was shot with a blue light ting to it and they corrected the color to some facial tone, producing the effect.
 
Wayne Morellini said:
Who did I see saying Cat Woman had Red in it. Is it really that old, now I feel older. But still, I wonder what they used to shoot that scene I mentioned. Maybe it was shot with a blue light ting to it and they corrected the color to some facial tone, producing the effect.
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When Catwoman was in post, everyone was going batshit crazy with digital grading and all the new DI toys that were around, so it's a product of it's time. Many films made back then look just about the same as what was in the theater last week.
 
If this is the proferred look I'm thinking about, great I wish more movies looked like that.
 
Just watching SpyForce while checking this, an old classic Australian series. I've got the color up double and a red color shift and it still looks like ungraded digital with bad color shift. It is a real shame it never had that color correction movies today get, would have made a great series (even for today) much better.

People miss the point with digital, their is an optimum color balance for most films.
 
Stuart English said:
And if you really have a 25Mb/s download on your internet, that's real time for RED RAY ...
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My Star Wars BluRays have an audio data rate of a 5-6Mb/s. RED RAY's video data rate is still supposed to be a 20Mb/s or it just grew up again for another 20-25%?

20Mb/s video data rate + 5Mb/s audio data rate = 25Mb/, right or something else?
 
Wayne Morellini said:
Alright, here is a hot topic. How does the Red 3d setup on this film work? It has a sort of sheen on the skin tones etc, similar to the sort in magazines (what was the name of that slide film type they used to use?). It occured to me that shotting through a half mirror in a 3d system would do that.
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I think most of that is due to DP John Schwartzman and his choice of lenses, filters, and lighting, along with whatever was done in post. Glimmer glass, diffusion, pro mists, secondary keys... there's all kinds of ways to change images, particularly skin tones. My bet is on very skillful color correction in post, under Schwartzman's supervision. But it all has to start with a good image.

The new Amazing Spiderman trailer looks killer:

http://trailers.apple.com/trailers/sony_pictures/theamazingspiderman/

I don't doubt the deep perspective high shots will be stunning, especially in 3D 4K.
 
Thanks Marc, but was what I usually saw, however recent improvements might help, if there is time, or directors cut br disk.

I couldn't get the apple site to download the trailers, will have to go elsewhere. My present system can't run itunes, so it redirects to the homescreen instead of downloading :( . This locking out everybody else except your platform is pretty unacceptable, especially for something like this.
 
Funny, I'm watching them live on the Apple website, no downloading necessary. Most likely you need the latest QuickTime installed with your browser. This will be an issue with Linux, but not with any flavor of Windows or Mac OSX in the last 5-6 years.
 
Marc Wielage said:
Funny, I'm watching them live on the Apple website, no downloading necessary. Most likely you need the latest QuickTime installed with your browser. This will be an issue with Linux, but not with any flavor of Windows or Mac OSX in the last 5-6 years.
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Yep, priority, can't install.
 
Thanks Marc,
 
Well, what can I say. I like the reader trailer a little better possibly, but there are things I don't like, like maybe a yellow or even greenish, shift I can see on known colors (I have seen the throw over on the couch in the child scene, or have one, plus the movie classification still, the shift in the blue in lab and skies) but at least it shows they can do it, if they want too. No t really my preferred look, but definitely (not counting shift) in the zone of what I like.

Now, can somebody do this to District 9?

As I might have said here before, there needs to be a footage container system, to preserve used footage and effects at maxinum used resolution and quality, for automated reprocessing into higher resolution master with new color space, that canbe tweaked for subsequent after market special collector edition releases (bluray and redray). In this the raw special effects and 3d creation files are also preserved to be rerendered or replaced at tgevnew target resolution and color space. This also includes automated resolution upscaling of highest quality, to fill in what can't affordably otherwise. A standard for this. Might be a job for George Lucas and crew.
 
I would not judge color accuracy based on a unknown flash file, with questionable gamma settings on both the file end and the monitor end, and too many variables in gamma settings, color temperature, and gray scale on computer monitors. But even given all that, I think Amazing Spiderman looks very, very good.

District 9 had an extreme look, and I think it's a given that this is what the director was going for. "Normal" was not the desired look.

Higher res and greater color spaces are part of the new Academy ACES file format, but it's not widely accepted at the moment.
 
Marc Wielage said:
Higher res and greater color spaces are part of the new Academy ACES file format, but it's not widely accepted at the moment.
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ACES has nothing to do with resolution. Its purpose is to specify a theoretically unlimited color space for both archiving and working flexibility, and ways to get in and out of that color space to accommodate different capture devices (for input) and different display devices, both known and unknown. Resolution is not part of the specification.
 
Marc Wielage said:
I would not judge color accuracy based on a unknown flash file, with questionable gamma settings on both the file end and the monitor end, and too many variables in gamma settings, color temperature, and gray scale on computer monitors. But even given all that, I think Amazing Spiderman looks very, very good.

District 9 had an extreme look, and I think it's a given that this is what the director was going for. "Normal" was not the desired look.

Higher res and greater color spaces are part of the new Academy ACES file format, but it's not widely accepted at the moment.
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Yes I know, including the color shift in your vision system from in room lighting, I think I might have mentioned that here, definitely some thread lately. However, Sony's file, they should know what they are doing with their movie. But looking at many you know it is different. There is a yellow white balance on this display (a nice one), but more I think.

District 9, doesn't matter it is what looks good, and was too extreme in my viewing, I should break out my br edition on my colour balanced screen. It is a general thing with all red foitage I have seen in the period. Lots of grey, OK, but the color needed more for the time.

A scifi writer myself, I wonder when the next is coming. The end scene uses a simplified version of a control system I had for older stories.
 
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