An Epic First Day :)

[John Schwartzman ASC]

I am very excited to see the Green Hornet, it opens on the 14th and unlike the project that I am working on right now, which is being captured in 3D, the Green Hornet is a post conversion, and a very good one at that. I hope the readers of this forum look at it with unprejudiced eyes, and don't condemn it just because it is post converted. There is no question that shooting in 3D is far more satisfying because i can be a part of the authorship of the 3D, with conversion I am just an audience member, having said that I really think that Rob and Grant did a great job riding herd over the conversion vendors, and making it feel of a piece. I certainly was set to hate the 3D version of the Green Hornet, the film was shot in 'scope and we certainly didn't think of a 3D finish while shooting. Michel and I encouraged lens flares and lots of "mistakes" and smoke, things that make converting from 2D to 3D more difficult. I love the 3D version of the Green Hornet, I am happy with the "look", I wish the projector was brighter but i think we got a great look from Co3 for both the 2D and 3D versions of the movie. Judge it without prejudice of how it was originally shot and I think you will may come away with a different opinion of post-conversion when it is done right.

 

[Ketch Rossi]

I am very excited to see the Green Hornet, it opens on the 14th and unlike the project that I am working on right now, which is being captured in 3D, the Green Hornet is a post conversion, and a very good at that. I hope the readers look at it with unprejudiced eyes, and don't condemn it just because it is post converted. There is no question that shooting in 3D is far more satisfying because i can be a part of the spatial discussion had have authorship of the 3D, with conversion I am just an audience member along for the ride, having said that I really think that Rob and Grant did a great job riding herd over the conversion vendors, and making it feel of a piece. I certainly was set to hate the 3D, the film was shot in 'scope which one would think would be hard to convert and certainly we didn't think of 3D while shooting and Michel and I encouraged lens flares and lots of "mistakes" that make converting more difficult. I love the 3D version of the Green Hornet and I would judge it without prejudice of how it was originally shot.

Well after the big fiasco of "Clash of the Titans" I look forward of seen the Green Hornet in
3D, and will take your words of encouragement not to judge (which I never do) before I see
it, and judge based on the result of the film and not the way it was achieved

 

[ericyoung]

With your recommendation, I'm very interested to see it in 3D now! :smile:

Thanks for your contribution to Reduser.net.

 

[Brad Webb]

I am very excited to see the Green Hornet, it opens on the 14th and unlike the project that I am working on right now, which is being captured in 3D, the Green Hornet is a post conversion, and a very good at that. I hope the readers look at it with unprejudiced eyes, and don't condemn it just because it is post converted. There is no question that shooting in 3D is far more satisfying because i can be a part of the spatial discussion had have authorship of the 3D, with conversion I am just an audience member along for the ride, having said that I really think that Rob and Grant did a great job riding herd over the conversion vendors, and making it feel of a piece. I certainly was set to hate the 3D, the film was shot in 'scope which one would think would be hard to convert and certainly we didn't think of 3D while shooting and Michel and I encouraged lens flares and lots of "mistakes" that make converting more difficult. I love the 3D version of the Green Hornet and I would judge it without prejudice of how it was originally shot.

Awww man, now you're going to make me spend even more money on this movie I really don't want to see. It's bad enough I was already going to see it soley because Michel Gondry directed it. Now I have to see it 3D.

I hope you're right. I really want 3D to work, and stick around. I really would love to see what Gondry would come up with if he was to shoot in 3D.

 

[John Schwartzman ASC]

On another note, I wish I could share the tiff's from my current project, the look from the Epic is really Epic, I am totally in love with this camera. At 75megs per tiff I have had to go to 2TB drives for my personal computer but such is the price of 5K. Happy holidays to my friends at RED and see you in 2011.

John

 

[Brook Willard]

On another note, I wish I could share the tiff's from my current project, the look from the Epic is really Epic, I am totally in love with this camera. At 75megs per tiff I have had to go to 2TB drives for my personal computer but such is the price of 5K. Happy holidays to my friends at RED and see you in 2011.

John

Happy holidays, John!

 

[Stacey Spears]

Not sure if this can be shared, but is there any estimate on the total amount of data that will be captured for this movie by the time you are done? (R3D, not uncompressed)

 

[Brook Willard]

Not sure if this can be shared, but is there any estimate on the total amount of data that will be captured for this movie by the time you are done? (R3D, not uncompressed)

Lots.

 

[Pedro Guimaraes]

I am very excited to see the Green Hornet, it opens on the 14th and unlike the project that I am working on right now, which is being captured in 3D, the Green Hornet is a post conversion, and a very good one at that. I hope the readers of this forum look at it with unprejudiced eyes, and don't condemn it just because it is post converted. There is no question that shooting in 3D is far more satisfying because i can be a part of the authorship of the 3D, with conversion I am just an audience member, having said that I really think that Rob and Grant did a great job riding herd over the conversion vendors, and making it feel of a piece. I certainly was set to hate the 3D version of the Green Hornet, the film was shot in 'scope and we certainly didn't think of a 3D finish while shooting. Michel and I encouraged lens flares and lots of "mistakes" and smoke, things that make converting from 2D to 3D more difficult. I love the 3D version of the Green Hornet, I am happy with the "look", I wish the projector was brighter but i think we got a great look from Co3 for both the 2D and 3D versions of the movie. Judge it without prejudice of how it was originally shot and I think you will may come away with a different opinion of post-conversion when it is done right.

Projector brightness is the eternal battle with 3D exhibition!

Currently most theaters project 3D around 3-4ft lamberts with real-d, Dolby or expand... Lenny Lipton's new projection technology (oculus3D)has recently tested at Burbank AMC 16 theater at an incredible 8ft lamberts(or so I heard)! I know his expectation is to have 11ft Lamberts when the system is finished. So brighter days ahead it seams.

Just watched Tron 3D last night and watched previews for Pirates of Caribbean 4 and Green Hornet 3D.....one right after the other. POC4 was shot on Pace rigs and RED mx's and Hornet is converted.....I can say they did a good job with Hornet. I don't expect it to get bashed like COTT was.

As a stereographer I have been looking at 3D conversions and tests almost since I started working with 3D 3 years ago. I have seen lots of bad conversions in that time. Lots...

As someone who very much makes his living (stereographer) working with live action 3D I'm naturally biased but also quick to see the appeal of the technology. I can easily say every time I see a new conversion it gets better and better. Generally the more money and time is spent on it the better the results. Also if you know you are shooting 2D for 3D then many steps can be taken to help the process work better. This is why I'm curious to see how Men in Black 3D will turn out. It's currently being shot in NYC in 35mm film to be converted to 3D. Lets see with their budget how that turns out...

The coming of 3D television networks, especially Discovery will have no choice to include some converted material every time they have archival or historic footage to show during a program.

Recently I watched Wes Craven's new movie "My soul to take" it was also converted. That said I think so far it was one of the best converted movies I have watched. Still I did spot a few errors or visual issues. Still every time I watch a converted movie I can't help to think how much better it could of been if shot in 3D! But it is clear that it's making progress as a VFX technique.


Naturally the process will get cheaper and better as time progresses.

But...

more importantly with the advent of of things like the Epic/Scarlet and rigs like the ATOM and the TS5.....Filming in 3D will also get easier, better and increase in quality. Reducing the argument for conversion.

I think conversion will never achieve the "roundness" of similar a stereo image.

Green hornet, looked like a decent conversion from the previews I saw yesterday. Unfortunately when you just convert projects after shooting is done and the project is edited. You don't have the opportunity to enhance the 3D with composition or movement and also just as important the editor is not editing with 3D in mind and really fast MTV type cuts just don't work very well in 3D.

Editing can have a huge impact on 3D's effectiveness on screen.

I'm curious to see the complete movie, might be a step forward with conversions but I'm sure looking at those beautiful EPIC 3D images you're probably looking at on set everyday now that you can see the immense difference it makes to shoot in stereo.

 

[Casey Green]

Hi guys,

Can you share with us who all is involved with the project and in which roles? (Camera Operators, DMTs, 3D, Video Assist, Post, etc.)

 

[Jarred Land]

Thanks for making us look so good John...

 

[Tom Lowe]

I am very excited to see the Green Hornet, it opens on the 14th and unlike the project that I am working on right now, which is being captured in 3D, the Green Hornet is a post conversion, and a very good one at that. I hope the readers of this forum look at it with unprejudiced eyes, and don't condemn it just because it is post converted. There is no question that shooting in 3D is far more satisfying because i can be a part of the authorship of the 3D, with conversion I am just an audience member, having said that I really think that Rob and Grant did a great job riding herd over the conversion vendors, and making it feel of a piece. I certainly was set to hate the 3D version of the Green Hornet, the film was shot in 'scope and we certainly didn't think of a 3D finish while shooting. Michel and I encouraged lens flares and lots of "mistakes" and smoke, things that make converting from 2D to 3D more difficult. I love the 3D version of the Green Hornet, I am happy with the "look", I wish the projector was brighter but i think we got a great look from Co3 for both the 2D and 3D versions of the movie. Judge it without prejudice of how it was originally shot and I think you will may come away with a different opinion of post-conversion when it is done right.

John, on the Redcentre Podcast # 78, there is a fairly nuanced conversation about dimensionalizing 2D films: http://www.fxguide.com/redcentre Apparently there have been big steps forward in this process. So I heed your request to keep an open mind.

 

[Jon Corcuera]

John thanks for sharing your experience, looking for placing my hands on to the epics.
I wonder what you think about the backlights in 3D, in the tests that i have done (not with epic) I do like a lot the effect of soft backlights but don´t like the effect of hard ones (will use it for some shots, as no backlight at all, but in general the effect that produces is not pleasing IMO).
Agree completely in the idea that soft contrast reduces the pleasure of 3D (what about saturation? i steel don´t have a clear idea on it with 3D), and was wandering if you are taking in count the color temperature as to favor closeness and far distance perception.
Jon

 

[PetarMateiasevich]

John Schwartzman has the best Michael Bay Stories

 

[Kian Marandi]

So when is Red going to win an Oscar from the Science & Technology division?

 

[Steve Sherrick]

So when is Red going to win an Oscar from the Science & Technology division?

Within 5 years. As cool as it would be for them, what's even cooler I'm sure is having the films themselves win the awards because that means the tools are helping tell stories effectively.

 

[A_Love]

This is great news, and please keep giving the updates on the Epics!

 

[Kian Marandi]

Within 5 years. As cool as it would be for them, what's even cooler I'm sure is having the films themselves win the awards because that means the tools are helping tell stories effectively.

Agreed. I do think though that winning an Oscar specifically in the S&T area will really seal the deal and put an official "stamp" on the fact that Red has indeed revolutionized image capture technology for cinema.

Start writing your speech Jim! =)

 

[Steve Sherrick]

Agreed. I do think though that winning an Oscar specifically in the S&T area will really seal the deal and put an official "stamp" on the fact that Red has indeed revolutionized image capture technology for cinema.

Start writing your speech Jim! =)

I would think REDCODE will be what wins RED a technical oscar. It has allowed filmmakers to record a very high quality image to small portable media, such as CF cards and those images can then be manipulated in RAW space. When you think about the resolution and quality they are achieving to data rates that are in the standard def uncompressed realm, it's remarkable and as such will hopefully be recognized by the academy. They have had a major impact on digital cinematography. I'm not saying they are the only ones, but certainly one of the leaders in this push.

 

[Kian Marandi]

I would think REDCODE will be what wins RED a technical oscar. It has allowed filmmakers to record a very high quality image to small portable media, such as CF cards and those images can then be manipulated in RAW space. When you think about the resolution and quality they are achieving to data rates that are in the standard def uncompressed realm, it's remarkable and as such will hopefully be recognized by the academy. They have had a major impact on digital cinematography. I'm not saying they are the only ones, but certainly one of the leaders in this push.

Ah yes! As never having had the chance to go through the Red workflow, I guess that portion of the Red world wasn't as apparent to me. I can see its merit as "award worthy" now that you mention it.

Also, reading about how the form factor is enabling 3D capture in new ways that wasn't formerly possible is very exciting. Often times when I walk out of the theatre after seeing a 3D release, I can overhear people saying "oh they didn't use the 3D as much as they could have... etc etc.".

After reading John's original post, I realized that it has never occurred to me that maybe people are saying that because of the challenges involved with literally physically manipulating the 3D rigs. Perhaps these smaller/lighter 3D rigs that Red is enabling will put an end to those that say "it wasn't 3D enough." Just a thought.

Either way, I think we probably agree that Red can be argued to be "Oscar worthy" from a technology perspective in more ways than one!