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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 :)

Good enough...

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Alex D. da Silva said:
Actually "28 Days Later" looked pretty good. Specially considering was shot on DV.

What makes a good movie is certainly not the resolution or definition, it's the story. Bad movies can also be tremendously successful for one reason or another.

Hollywood can pumped a product and sell it based on anything: 3D, big stars, sequels, mammoth marketing budgets, etc... If you don't have any of these things going for you, focus on your storytelling and try to make your film look as good as possible.
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totally true ..


RED will bring real intelligent story tellers to the front of cinema again
 
Rob Ruffo said:
Box office has been very good this year. as a professional, I look at my clientele for what they like, not the whims of myself and my friends.

Most stories on indy films and terrible - bad dialogue, bad plot structure.
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as an artist you should create what you love and what you would buy.

how do you know what they like or want. Its impossible but you can know what you like and want.
 
Rob Ruffo said:
This is simply not true - and 28 days later was shot in HD.
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via IMDb:

Technical specifications for
28 Days Later... (2002)
Camera
Canon XL-1S, Canon EC and EJ Prime Lenses with Optex adapter

Laboratory
Technicolor (answer print)
DeLuxe (prints)
The Moving Picture Company, UK

Film negative format (mm/video inches)
35 mm (final scene)
Video (PAL)
8 mm (flashback scene)

Cinematographic process
D1 (master format)
DV (source format)
Spherical (source format) (final scene)
Super 8 (source format) (flashback scene)

Printed film format
35 mm (Kodak Vision 2383)

Aspect ratio
1.85 : 1 (anamorphic)


The Canon XL-1S is SD. Canon doesn't have a prosumer true HD camera (1080p).
 
I don't think there were prosumer HD cameras at all back in 2001/02 when it was shot. Yes, it was SD.

And then we have Inland Empire, where Lynch deliberately used the dirty and cheap look to great effect. But of course, you wouldn't do that for any other film.

chrislancaster said:
as an artist you should create what you love and what you would buy.

how do you know what they like or want. Its impossible but you can know what you like and want.
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This is so true, but I am not sure there are very many true artists working in Hollywood. There are the lucky ones who seem to share what is dear to them with the audience (George Lucas) but in general, it is all about the enterprise. There is very little tolerance in Hollywood - and most if it is just pure escapism with no grounding in reality. Yet, this is what the critics adore. Show them something outside the norm, and they flip out. Take The New World or The Limits of Control or even Jesse James for example - all panned by the critics. Shame, there is very little scope for artistic expression. All people expect is tight, satisfying plots. Cinema is a visual medium - it should be about much more.
 
I seem to remember the DP just lamenting how much he hated DV though in the AC article.

Looked 'ok' but sounded like he got 'ok' out of many a shed tear and drop of blood to make it work 'ok'. Doesn't sound like my idea of fun.
 
There is a key list of specs that you might want the best out of....

Resolution
Dynamic Range
Sensitivity
Frame Rates
Sensor Size
Lighting
Talent
Location/Stage sets
Work Flow
Camera Size
Rental/Purchase Price
The list goes on.... and will mainly be determined by price.

Where resolution (SD,HD,4K, IMAX) comes on that list is very dependent on what you are shooting, what your price range is, what your final delivery is and the likely life cycle of the project.

Say, in 2 years, I was working on a low budget indie and the budget afforded either a 1080p camera with film like dynamic range... or a 4k camera with the DR of a hdv camcorder.... I'd Choose 1080p. I'm trading "good enough" resolution for the best DR.

These sort of compramises happen daily and there is no perfect camera for every situation and probably never will be.
 
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Rob Ruffo said:
This is simply not true - and 28 days later was shot in HD.
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No it was shot on customized Canon XL-1's.

However I wish people would stop using it as an example anyway as the post pipeline ended up costing in the region on 1.2 million dollars before it was deemed suitable for release quality.
 
chrislancaster said:
as an artist you should create what you love and what you would buy.

how do you know what they like or want. Its impossible but you can know what you like and want.
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Chris that's a really naive post of view, its doesn't work like that, you create what sells so that you can make money. And then you use some of that money to find personal projects that are what you love.

Most of us spend the majority of our time working on things we have no interest in so that we can afford to work on the projects that we do.

Everyone has to play the game, if you don't you'll end up another starving artist who held onto his morals and principles when you could have been showing the world something great.
 
Jay Gannon said:
Chris that's a really naive post of view, its doesn't work like that, you create what sells so that you can make money. And then you use some of that money to find personal projects that are what you love.

Most of us spend the majority of our time working on things we have no interest in so that we can afford to work on the projects that we do.

Everyone has to play the game, if you don't you'll end up another starving artist who held onto his morals and principles when you could have been showing the world something great.
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Although it's a completely subjective and philosophical argument, I don't agree with this at all. I am not saying there are no compromises but I think you start out with a vision that you stay true to; the minute you try and "please everybody" you lose any unique qualities that your work possesses and you are more likley to "fail" than ever. FWIW - although I certainly can't speak for him - I think Jim is a good example of someone who has always done it exactly the way he wanted to do it... and still does with RED.
 
Somebody on this board once said:
"Like productions, there are three variables...
Good, fast and cheap.

You can only have two of these."

So if it has to be cheap and fast, there actually has to be a "good enough".

I dislike this thread. Too snobbish for my taste...
 
Rick Burnett said:
But will the Scarlet 2/3 Fixed be GOOD ENOUGH for shallow focus for me in tight places? No.
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I dunno, I think it'll be alright with the 1.5 mini primes, especially on the long end. And shallow DoF is overrated anyways.

Craig W. Bickerstaff said:
As long as you can hear what the characters are saying clearly and the story is interesting with good performances from your actors the film could just as well be shot on a cell phone camera.

Look at 28 days later, shot on DV people love that film.
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28 Days Later was shot on DV cause it looked scarier that way. A cell phone video only looks good if the story calls for the cell phone video. Once I see that video look, I'm like, "This story better reeeeeeeeally grab me in the first two minutes."

Sami S said:
Music video for web and occasional TV rotation.
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Yeah, I prolly would of done the same thing. Feeding talent well is VERY important :) And the DSLR resolution is alright for web and TV. You just gotta take extra time to make sure your exposure and color are nailed. But pretty soon, we won't have to be making those compromises... XD
 
Alex D. da Silva said:
Actually "28 Days Later" looked pretty good. Specially considering was shot on DV.
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Considering it was DV it still looked dodgy. In absolute terms, it looked awful.
DV was chosen for speed in getting the deserted London shots. In the end, I'm sure it would have looked better shooting high resolution stills and comping the actors in. Both me and my wife were shocked at how bad it looked. If we'd paid to see it rather than getting in free for a local preview, we'd have asked for our money back.

Graeme
 
Good Enough is a term only relative to the past and present....

In other words... Keep on Truckin! R. Crum
.
KeepOnTruckin%27.jpg
 
joshua csehak said:
It kills me that I can't just watch it on demand with commercials. Hell, make it so I can't fast-forward the commercials! I don't want to watch it on my computer. TV shows are meant to be watched on a TV. Of course, before too long I'll have a broadcast monitor, but I bet the iTunes downloads are optimized for viewing on your computer.

Anyways, I refuse to support the iTunes model when I'm perfectly happy watching commercials.

Grumble grumble...
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You can download the 720p version from The Pirate Bay, burn it to DVD and watch it on your TV using a BluRay player which plays mkv files.
 
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