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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 :)

Big Sur

Some more:

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Stunning! Some of the best nature shots I've seen on Epic yet. Thanks for sharing David -- curious if you can say how you might use them for the film?
 
these shots could be great supplements to some narration...

great work guys! really excited about this film, hope to see it in 4k!
 
Honestly, this looks like some of Tom's best work yet. Perhaps in part due to the grade that adds a dramatic interpretation, a mood. Though I might be too bias for this movie to say that with enough credibility.
 
It really is great to feel like an insider on a shoot. Thanks to David for letting us in...

Jim
 
I think all the hypnotic slow-motion ocean stuff is probably going to play great under some of the narration, Jack Kerouac's contemplations... but we also need shots like Tom's to create time transitions, to make the story more fluid. Also, Tom was able to capture some variety in weather since 9 days out of the 11 we were in Big Sur, we had clear skies.
 
Fascinating reading and once again, thanks for posting your diary and beautiful stills. I know you've mostly posted wide shots, but these really seem to covey the isolation of the character. Wonderful!
 
David Mullen ASC said:
I think all the hypnotic slow-motion ocean stuff is probably going to play great under some of the narration, Jack Kerouac's contemplations... but we also need shots like Tom's to create time transitions, to make the story more fluid. Also, Tom was able to capture some variety in weather since 9 days out of the 11 we were in Big Sur, we had clear skies.
Click to expand...

Thanks David. As I read your response I can imagine that in the context of the narrative - appreciate the response ....
 
Everything is so Dream like up there. I am just stunned by the beauty of shots again and again. and that you only need a few lights to make a decent night scene with the EPIC... just stunning.
 
It was a pleasure to work on this film! Actually, all these years, it's been a dream of mine to work with David. I've learned more from David online than from any other person. So you can imagine how exciting this was for me.
 
David thank you very much for taking us through the shoot. I was hoping (no pressure of course) that you could do the same for the post production and even show some of the test or early grades.
 
David, any word on whether this film will be finished at 2K or 4K?
 
It's entirely a money issue between the producers and Light Iron. If I were a betting man... well, there's a reason I'm not a betting man.

Bottom line is that it costs more to finish in 4K -- doesn't matter if it only costs $1000 more, someone is bound to say "we need that $1000 elsewhere" you know what I mean? It constantly depresses me. Truth is that 4K will never truly take off as long as there is a price difference between it and 2K.

I have the same problem with Kodak print stock. I like Vision Premier 2393 over Vision 2383, but it cost 10 cents more per foot because it has more silver in it. But if Kodak just charged the same for both stocks by splitting the difference in price, then one could make a choice for artistic reasons, rather than have the distributors choose the cheaper option 99% of the time.

Now perhaps at least at the bigger-budget studio end, 4K will become mandatory someday for archiving reasons, though with the rise of 3D and efx-heavy movies, it has put a crimp on that, few people want to both double the amount of work for 3D and quadruple the amount of data for 4K.

BTW, today we shot a dream sequence (in 4K on a Red One) for the movie, in an abandoned hospital building with creepy people dressed as vultures. Cool stuff.
 
I hope LI does it 4K!

David, was that shoot today where that crazy photo Michael published on Facebook came from?
 
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