Elysium - Shot on EPIC

[Bob Gundu]

Looked like the old Redcine.

So in the B-Roll video they show a scene being played back in RCX. How did they get the layout to look like that? Can you move the panes around like that and how if you can?

 

[Scott Crawley]

Bad to the bone.

 

[Will Keir]

That was awesome, thanks for posting.

11:50 Look at that steady cam operator, the guy did an awesome job. Hope the shot turned out. Really looking forward to this one.

Great Behind the scenes video posted.

 

[Peter Johnson]

Thanks Bob. It's been awhile since I played in the old version so I had forgotten what it looks like. I am quite guilty of updating when new versions come out and my memory is not what it was.

 

[Phil Holland]

Really can't wait for this one. Opens next week.

 

[Nick Morrison]

Really can't wait for this one. Opens next week.

Likewise.

 

[Will Keir]

Is there a 4k version available?

 

[Julian Banos]

Thats a great video. Thanks for sharing, if you could smell the some of the sets...

 

[Thor Melsted]

Anyone know how or where to find out where it's playing in 4K?

 

[Jeffrey Loewe]

I might be way off but here in Colorado we have Cinemark theaters. Before a movie I saw tonight there was a long in depth look Cinemark Moviegoers did prior to the previews on Elysium. There was a BTS moment for just a second where it showed multiple what looked like RED cameras:
http://nofilmschool.com/2012/10/save-grand-red-scarlet-extremely-limited/

I'm kind of wondering if this is what all the Scarlets were used for? Maybe RED told us and I missed it but I think I saw quite a few RED's on stands as to what looked like a similar set up to the pictures we saw.

 

[Häakon]

There was a BTS moment for just a second where it showed multiple what looked like RED cameras:
http://nofilmschool.com/2012/10/save-grand-red-scarlet-extremely-limited/

If you're talking about the shot at 14:30, those look like 5Ds.

Interesting that they shot in 5K ANA mode (as seen in the overhead shot at 4:25), and then switched to 5K FF (as seen in the monitors at 14:41). Wonder if that's something to do with the visual effects, but you'd think for aesthetic continuity they'd keep it the same throughout.

 

[Trevor Meier]

Great interview with Andrea Chlebak (colorist at Central, the DI facility) about the 4K DI. Looks like they shot 3.3K anamorphic and posted using ACES.

http://www.studiodaily.com/2013/07/...rated-editorial-and-vfx/?sthash.DVjP82jO.mjjo

 

[Vadim Bobkovsky]

When you think about it, this may be one of the last movies we see go to film in a widespread way. It's also mastered on 35mm for, I think, the European market, but not very many theaters in the U.S. and Canada are still showing film. We were actually kind of surprised by the IMAX process, which really adds something I hadn't imagined to the film. The film experience and the organic quality of the grain at that size and that resolution — it feels like it's 16K, or something crazy like that. It's an exponential resolution jump, and yet it has that cinematic feel. And the sound in the IMAX theater in L.A. is insane

Huh, that interesting. Apparently the IMAX DMR process (including post-sharpening) and sort of dithering effect of the grain helps the cinematic feel. Couple months ago I watched Academy Award Winning short film Curfew, that was shot on RED1 and then printed on 35mm. The short itself is so good, but the image looked really beautiful. Of course that's more expensive than cinegrain or film convert plugin, but looks like its worth the extra step if you like that kind of thing.

 

[Will Keir]

4K DI.

Where can we see this film in 4k?

 

[Isaac Marchionna]

The VFX were done at 2K, just like Prometheus.

Actually saw this last night at a local press screening. It's as good as you think it'll be, and then some. Also I strongly suggest picking this up, amazing design work, which should remind us all it's not just the camera, but the brilliant artistry that goes IN FRONT of the lens.

 

[Tom C. Hall]

I find it really interesting that almost all (if not all) of the handheld shots in this BTS were done with the operators holding on to the mattebox. I'm going to have to try this out.

Don't do it with regular matteboxes. There is a reason panavison gear is so well respected.

 

[Brian Broz]

5K FF was used for certain VFX plates and aerial work (and/or whenever spherical lenses were used).

 

[Trevor Meier]

If you're in Canada, any of the AVX theatres (Cineplex) will be showing the 4K DCP.

Fairly certain the VFX were done using the 3.3K anamorphic setup, since that's how the plates were pulled and conformed.

 

[Raphael Varandas]

Great!!

 

[Roy Rossovich]

Fun seeing the behind the scenes, wish more movies had materials like this. That fight scene with the steadicam was pretty gnarly.