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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 :)

Could Nolan use EPIC to achieve his IMAX dream shoot?

Mark Collins said:
Red has a very distinct look to it, no matter what you do to it in post, you can still look at the image and say "that was shot on Red", which I find to be a detriment from an audience perspective.
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Yes, I would agree and I think most would say that the RED ONE has a very distinct look that separates it from both film and other cameras. That said, we're talking about EPIC, which will look different than anything we've seen from the RED ONE. More res, more dynamic range. In theory, one will have much more information to play around with to get closer to a "film look" with Epic.
 
Part Super 70, part IMAX and Panavision anamorphic 35mm as B-camera (mobility and close-ups) sounds like an agreeable compromise to me. Pfister and Nolan have shot Super 70 in part for both Inception and The Prestige too, I think.
 
Subhadip Sen said:
Part Super 70, part IMAX and Panavision anamorphic 35mm as B-camera (mobility and close-ups) sounds like an agreeable compromise to me. Pfister and Nolan have shot Super 70 in part for both Inception and The Prestige too, I think.
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I'd take a plethora of Vista Vision too, which was also used in The Dark Knight. Anything but 2:35:1 35mm IMO. They should stick to one aspect ratio this time. While I thought the last film worked, I'd love to see an entire feature done large format.
 
Mark Collins said:
I have to agree with Nolan on film though. It's still the gold standard in my book, and the only camera I've seen that comes close to it is the Alexa. Red has a very distinct look to it, no matter what you do to it in post, you can still look at the image and say "that was shot on Red", which I find to be a detriment from an audience perspective.
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I don't see that as a detriment. Honestly, I don't think anyone watching The Social Network was thinking, "man this so does not look like film". Besides, as more and more productions go digital, and digital becomes the gold standard (not to mention digital projection becoming the majority projection method), staying true to the "film look" will be of less importance. I am willing to bet that 95% of the audience as of now cannot tell the difference between Red and traditional film.

Also, with the use of light diffusion filters and post grain addition using programs like Arri Relativity, you can make Red footage look almost identical to film. Yes, the Alexa will look more filmic out of the box but the increased resolution, higher DR, small form factor and faster frame rates, make the REd a better buy all around, especially if you are concerned with future proofing your footage.
 
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Andrew Rieger said:
There are reports that IMAX is working on a digital camera with a 70mm sensor but I am sure it is a long way off.
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What would you consider a long way off?
 
Mitch Gross said:
What would you consider a long way off?
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Mitch, I would consider a long way off 2+ years but if you have have some insider info that you can give us, that would be huge. By the way, when do you think Aaton will grace us with the digi back for the Penelope? (which was always my dream film camera)
 
By your definition I would say that IMAX Digital is not "a long way off." Can't say too much more than that.

Penelope-D should probably show something quite interesting at NAB and then be available sometime in Summer '11. But I think we all know how these things can go ...
 
Hey, what's that?

Not a mockup or render, but a part from a working piece of kit.
 

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Mitch Gross said:
By your definition I would say that IMAX Digital is not "a long way off." Can't say too much more than that.

Penelope-D should probably show something quite interesting at NAB and then be available sometime in Summer '11. But I think we all know how these things can go ...
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Hey, If IMAX gets a 70mm digi cam out sooner, all the better right?

I love the idea of an interchangeable back camera. I am surprised Arri did not try something similar or Panavision for that matter. They have been doing it for years in the stills world.
 
Mitch Gross said:
Hey, what's that?

Not a mockup or render, but a part from a working piece of kit.
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I am assuming this has nothing to do with IMAX digital projection but a new Digital camera? Please show us more.
 
Andrew Rieger said:
I am assuming this has nothing to do with IMAX digital projection but a new Digital camera? Please show us more.
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Nothing to do with projection.

Can't show any more for now. I'll probably get in a little trouble for showing this!
 
Lips sealed.
 
Zack Birlew said:
Darnit, someone had to say it! I've been planning the construction of a particular rig for HDSLR use to get 4K for under $5,000 TODAY. It's very simple and possible with simple accessories on the market right now.
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This would never really work very well unless you plan to use really long or really wide angle lenses. Otherwise it would be extremely difficult to get the sensors close enough or mask the convergence issues.
 
Mitch Gross said:
Lips sealed.
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Damn. It would be great to get some super secret insider info but I guess you need to know the right people for something like that.
 
If I posted it on REDuser it wouldn't be so super secret anymore, now would it?

Once we get past certain NDAs then all (or at least much) can be revealed. Knock your socks off, baby.
 
Mitch, next time you're in LA I'm getting you liquored up and getting to the bottom of this. :wink5:
 
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