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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 :)

F23, blah!

Yeah man, there's something fishy going on with the motion....
 
Wow, the depth of field in every shot looks like it's at least 15. It 'screams' video to me.
 
farroutpro said:
your looking at compression from the QT codec. I can tell you watching the trailer in full HD 1080p on a system that could handle it we saw zero problems.

http://www.laserpacific.com/index.php/proj-gallery/features-projects/64

http://digitalcontentproducer.com/podcasts/audio/bryan_carroll_public_enemies_0909/
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Just watched it, on 1080p, on a great Mac, the motion still looks like TV shit.

It reminds me of the look of Gossip Girl, great for a tv show, not so good for something this big budget.

There's no way this is a QT codec problem, as the other movies compressed at the same codec don't have this problem...
 
guys, come on... it's Michael Mann. He takes some of the best video cameras on the market and makes them look like crap. That's his style, and I like! He could and would do the exact same thing to the RED. It's intentional, don't use that as a reference for the f23. I've seen stuff shot on Hi-8mm (tape) look more cinematic than Michael Mann's latest work.
 
I guess I fail to see what you people are seeing. I see a movie shot with a lot of 360 degree shutter and some blown out highlights in flares and car lights. I think they did a great job with the limitations that are built in to that camera, if I shot a movie at 1/24 of a second in darker scenes that much I would only hope to do as good a job as they did.
 
CraigWB said:
It's the way it was shot guys put your critical pitchforks down, did you notice the F23 shots in Benjamin Button? They sure didn't look videoish to me.
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Benjamin Button was shot on the Viper I believe. Not sure if they had F23 shots in it... also Mann, it seems, specifically went for a different choice with regards to style compared to Fincher.

My question in my thread was not about the F23 at all, rather I asked if people felt that a "video" look (regardless of the source camera) suits a period piece. People are allowed to feel what they want and have their opinion...:gun:
 
Christopher Grant Harvey said:
Benjamin Button was shot on the Viper I believe. Not sure if they had F23 shots in it... also Mann, it seems, specifically went for a different choice with regards to style compared to Fincher.

My question in my thread was not about the F23 at all, rather I asked if people felt that a "video" look (regardless of the source camera) suits a period piece. People are allowed to feel what they want and have their opinion...:gun:
Click to expand...

The hospital scenes are f23.
 
CraigWB said:
It's the way it was shot guys put your critical pitchforks down, did you notice the F23 shots in Benjamin Button? They sure didn't look videoish to me.
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You are right. I completely forgot the f-23 finished out Button, after Fincher and Miranda abandoned the Viper due to fan noise...
 
Did Mann intentionally stop down a ton? I mean the depth of field is huge. usually when HD cameras i.e. 2/3" ones are used on productions they try to make them look as much like film cameras as possible. It seems odd that they'd choose to have a deeper DOF. Probably a stylistic choice. Everyone has their opinions, I guess.
 
I think that Michael Mann likes the instant "reality" feeling that occurs when shooting with such a rasor-sharp camera. He's obviously not after a "cinematic" shallow DOF 35mm look. Personally I find this approach very interesting and 2009ish, especially if we talk about a historical sujet.

Only because the RedOne has a S35 wide sensor and therefore a pretty shallow DOF it's the logical successor of film. The Manns and Finchers in this business free their mind and commit their film to a 2/3 sensor camera because it's different and new and allows a new approach.

Interesting that there are many young filmakers around who are so conservative when it comes to cinematography. Hopefully this does not apply for their stories.

Hans
 
In a low light scenes you deal with noise even on F23.

Have a look at some scenes at the end of the trailer.

1080p HD trailer>>>
 
Hans von Sonntag said:
Only because the RedOne has a S35 wide sensor and therefore a pretty shallow DOF it's the logical successor of film. The Manns and Finchers in this business free their mind and commit their film to a 2/3 sensor camera because it's i different and new and allows a new approach.


Hans
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RED is it's own "Public Enemy" because they still did not get easy workflow on set and in the post done.

At the moment is a big "pressure about workflow-SDK issue" to RED at another "professional" forum about it.

That's could be exactly the main reason that RED lost a lot of jobs with many features that supposed to be were recently shot digitally.

This wrong approach and some other bad strategies can "burry" RED project in a future even with upcoming attractive new products.

I think that urgently RED needs some brand new fresh "faces" in it's team to get push the whole thing more towards Hollywood.

They must know that they have to move towards Hollywood and not opposite that Hollywood moves towards them.

Very simple and easy to accomplish if you have right people to do this.

Now it's time for change in RED-Hollywood strategy.
 
I agree that it doesn't feel "right" especially for a period piece, it feels weeeird.

However, it can also work very well towards an intended purpose... and the shots with exaggerated depth of the focus pane can give a surreal feel, make them hard to swallow.

The sharp but not overly sharp stuff may be to try to bring it home, make people realize that this was a real story, in a real period, right here in America. Show it how it looked through the (sharp) eyes of those who lived in that period... perhaps in the back of his mind he wants to give HD hungry people some extra sharp stuff thinking that some will walk out saying that it was better than other stuff they've seen, because of how sharp it was.

Well, either way we should watch the movie before we judge. I might work very well, especially if the message is a good one.

It looks like a good movie.
 
Sanjin Jukic said:
RED is it's own "Public Enemy" because they still did not get easy workflow on set and in the post done.
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The workflow is not rocket science but the myths blow it out of proportion.
Every post house has red workflow. Every major piece of software has a red workflow. The amount of traction Red has in all the market segments would not have happened if the workflow was hard.

The great part is that it seems to be continuously improving and will only get easier. But to say it's not easy means you want it so easy a moron could do it.

There is a difference between "established and understood" vs easy/dirt cheap. Red is rapidly becoming understood by many post houses because there are so many ways to customize the workflow to a facilities needs.
 
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