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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 :)

4:3 Epic

David Mullen ASC said:
"Baraka" was released in standard 5-perf 70mm; the prints still play now & then at 70mm festivals. If it were shown in an IMAX theater, odds are that they would have dragged in a 5-perf 70mm projector into the theater to show it. I don't recall a blow-up to IMAX for that movie. Ron Fricke did make "Chronos" (1985) in IMAX, I remember seeing that.
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Yeah. I had heard someone say that Baraka got a short IMAX run, but it was in a conversation with someone so I have no idea if this person's info was correct. Like you said, the more likely scenario is that a a couple of IMAX theaters might have dragged out a 70mm projector.

I'm still waiting for it to come back to the Aero. I missed it last year.
 
David Mullen ASC said:
...and for 4K DCI projection, it would be downrezzed vertically and unsqueezed to 4096 x 1714-ish (assuming 4096 is the correct figure for 4K projection standards.)
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Yes, it's actually 4096x1716, as specified in Table 3, section 3.2.1.8 of the current DCI specification document.
 
Hey Guys, i am new to this tread and excited to see this site with lot of info about Red.

i have a question that If i shot a movie on Red at 4K and do all my post including applying effects, color correction etc in Final cut studio at a lower resolution ( with the QT reduced res). Now What do i do if i have to make my movie printed on film for the theatre release? Can Final cut do the job or Do i have to take my EDL to some big production house where they use Quantel Pablo or some other way to finalize for film.

Thanks in advance.
 
Rubancam, in theory, you could export a large digital file from FCP that could be printed to film. You might have to upgrade your system and it might be slow, but you could probably do it.

But let's face it. If you get a film distribution deal, the distributor or studio or production company is going to pay for the filmout, new music, and all of that, right?
 
You could put anything on film, just a question of picture quality. You shot 4K RAW, so you'd want to at least work in 2K RGB if not 4K RGB, create a color-corrected master, for a film-out to 35mm. You could even work in 4:4:4 1080P if you can't afford 2K or 4K. But anything below that resolution is a waste of quality for a 35mm film-out.

I believe you'd have to take your EDL and convert the original R3D 4K RAW files of the clips you ended up using, create a new edited master in the higher format you've chosen to finish to (2K RGB, 4K RGB, or 4:4:4 1080P), and color-correct that.

Don't know the resolution / color-subsampling limits of FCP or Apple Color but I'm guessing it may be 1080P 4:2:2, but I have no idea actually.

If you can wait on the film-out, you may be better off just creating a nice HD version that you can digitally project for people.
 
Hey Guys, i am new to this tread and excited to see this site with lot of info about Red.

i have a question that If i shot a movie on Red at 4K and do all my post including applying effects, color correction etc in Final cut studio at a lower resolution ( with the QT reduced res). Now What do i do if i have to make my movie printed on film for the theatre release? Can Final cut do the job or Do i have to take my EDL to some big production house where they use Quantel Pablo or some other way to finalize for film.

Thanks in advance.
Click to expand...

wrong section, go to workflow section, you will find step by step instructions in allot of threads.
 
What if???
What if Epic was going to be a 65/70mm equivalent?
Reason?
#1 RedOne- S35mm size
#2 Scarlet- 16mm size
#3 Epic- ...
:red_bandana:
 
Until Godzillas nemesis Monsto attacks!:ninja:
 
Jim, any hints regarding 4:3?

Pretty please. :)
 
Jeeze, you guys are so tactless. You need to talk a course in the art of persuasion.
 
I don't see the point in creating a 4:3 Digital Cinema camera just so you can take advantage of anamorphic film lenses.

Film lenses are designed the way they are, because 4x3 is the standard for 35mm film, and has been for a century.

16:9 is the standard for high-definition digital content, so wouldn't it make more sense to design anamorphic lenses that squeeze 2.40:1 onto a 16:9 frame?

Somebody let me know if I am not making sense...
 
These standards are based on a long lineage and the cost of building new glass for the camera far far out ways creating some new anamorphic format.

One lens could cost you as much or more than the camera, and for many people, rental companies, and studios changing out hundreds of thousand of dollars for some new and now non existent lens make no sense. This would also make very little sense for a lens company from marketing stand point.
 
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