FLIGHT in theaters Today

[Rudi Herbert]

Thank you Michael, it does, of course, make a lot of sense when you look at it in such detail.

 

[Michael Cioni]

Luis Otero;1093706

BTW, Michael, what was the compression rate used during shooting (8:1 , 5:1, other)? There were really pleasant images to enjoy throughout all the shades and shadows, specially on those scenes (hotel, farm-house) where no matter how many levels of darkness were present, you can distinguish them very well without having extreme black crushed.

Bravo...!



Per the recommend workflow with RED - taking into consideration the cost of storage and the efficiency of 128GB cards - 5:1 is the "sweet spot" of Epic and was the choice of capture for almost all of Flight. Of course, slow motion shots (7:1+) and some effects shots (3:1 & 4:1) makeup the remainder of the shots, but I'm a big fan of 5:1 compression as I find it is the best economic way to capture 5K images on SSDs as well as create an efficient price-per-gig analysis. On smaller films, I recommend 6:1, but on Flight, 5:1 was the key to great images that deliver the best flexibility with the best image texture.
My favorite photography that Don did in this film (and Corinne spent a lot of time with) is the hotel scene at the end of the movie. IF you are a truly invested viewer in the film by this point in the story, that look should almost come off as "scary." Epic 5K 5:1 gives a noiseless picture that is ultra-spooky and works incredibly well with the warm-night look (as opposed to the traditional cool-night look that many films use).
m

 

[Nick Morrison]

Luis Otero;1093706

BTW, Michael, what was the compression rate used during shooting (8:1 , 5:1, other)? There were really pleasant images to enjoy throughout all the shades and shadows, specially on those scenes (hotel, farm-house) where no matter how many levels of darkness were present, you can distinguish them very well without having extreme black crushed.

Bravo...!



Per the recommend workflow with RED - taking into consideration the cost of storage and the efficiency of 128GB cards - 5:1 is the "sweet spot" of Epic and was the choice of capture for almost all of Flight. Of course, slow motion shots (7:1+) and some effects shots (3:1 & 4:1) makeup the remainder of the shots, but I'm a big fan of 5:1 compression as I find it is the best economic way to capture 5K images on SSDs as well as create an efficient price-per-gig analysis. On smaller films, I recommend 6:1, but on Flight, 5:1 was the key to great images that deliver the best flexibility with the best image texture.
My favorite photography that Don did in this film (and Corinne spent a lot of time with) is the hotel scene at the end of the movie. IF you are a truly invested viewer in the film by this point in the story, that look should almost come off as "scary." Epic 5K 5:1 gives a noiseless picture that is ultra-spooky and works incredibly well with the warm-night look (as opposed to the traditional cool-night look that many films use).
m

Michael we are very lucky to have you on these boards discussing work-flow like this. Thanks for being so generous with your time and knowledge. I personally love it. I almost spilled my coffee when I read the American Cinematographer article about Prometheus and their compression ratios (almost identical to what you are quoting). Knowing what the best in our industry are doing is a treat. Thanks again for opening a window into your world at Light Iron.

Can't wait to see this film! It's a NYTimes critic's pic!