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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 :)

Justin Timberlake by David Fincher via Monochrome Epics

Jarred Land said:
Its amazing ketch how many " This changes everything " comments I get from people that shoot the Monochrome. Glad you guys like it.
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I believe it!!

Can't wait an extra day to have this kind of power in RGB with DRAGON...


But then again... DRAGON Monochrome will push things even further again and over the edge yet, so back to square one... Monochrome will remain KING!!


And I have officially made my decision that all my films will be shot using both RGB and Monochrome Epic for the very Dramatic scenes, as IMO nothing Dramatizes more a specific scene like the pure insane IQ contrast and Dynamically powerful look of the Epic Monochrome.... THANKS for making it!!
 
Jarred Land said:
Its amazing ketch how many " This changes everything " comments I get from people that shoot the Monochrome. Glad you guys like it.
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With the normal epic, I think I say in my mind "that is as good as film" ... with that extra bit of resolution and depth into blacks with monochrome I think when I'm looking at the shot "this is better then film". Monochrome represents the knee of a exponential experience, where you realize the revolution has just begun.
 
Really painful to watch ...
now you think of Sinatra, Martin, Darin, Gene Kelly ... you realize how devoid of talent these performers are ...
but the Epic-X monochrome ..... I want one.
 
I hope Color Dragon will deliver in terms of nice and organic overexposure latitude (IMO one of the very few remaining Holy Grails of film emulsion). I sure like what I see in MX Mono footage, but DR Mono probably will be even bigger leap forward. Just think about that stuff... Amazing.
 
Like many others here I do not care for the song at all but the images are truly compelling. If we can get this kind of image quality in color out of the Dragon (hopefully expanded color gamut) we will have the camera to end all other cameras, period. As a small side note, David Fincher is pure genius.
 
I think i must be in the minority here but i find the images quite digital feeling. If i compare it to great black and white film Cinematography it just feels a bit empty and lacking in depth or texture. Too clean. People have different tastes of course. Not particularly a fan of the Cinematography here either because it just feels quite unimaginative to me, along with the video itself. I very much respect David Fincher's other work however!
 
Once again I think RED has a look thats it own. When we think black and white, we immediately think nostalgically to an era. It can be quite jarring for the brain. Yes this camera produces a nice tonality and devoid of grain. Nice thing is, you can always add grain. It's harder to remove it. As for the cinematography, I liked the restrained camera work. A refreshing break from most videos I see these days.

k.wasley said:
I think i must be in the minority here but i find the images quite digital feeling. If i compare it to great black and white film Cinematography it just feels a bit empty and lacking in depth or texture. Too clean. People have different tastes of course. Not particularly a fan of the Cinematography here either because it just feels quite unimaginative to me, along with the video itself. I very much respect David Fincher's other work however!
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Jarred Land said:
Its amazing ketch how many " This changes everything " comments I get from people that shoot the Monochrome. Glad you guys like it.
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Once people see the camera in use it all becomes crystal clear.

I'll admit its uphill getting people to man up and stand by a decision to shoot mono, rather than fearing a potential and unplanned need for colour... Those who take the leap reap the reward. :)
 
Bob Gundu said:
Once again I think RED has a look thats it own. When we think black and white, we immediately think nostalgically to an era. It can be quite jarring for the brain. Yes this camera produces a nice tonality and devoid of grain. Nice thing is, you can always add grain. It's harder to remove it. As for the cinematography, I liked the restrained camera work. A refreshing break from most videos I see these days.
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Actually i'm thinking 'The Man Who Wasn't There' and 'Schindlers List' rather than older films. I find the image for this music video much like the look of a variety of digital cameras when they're used in a black and white mode, though the tonality is quite nice. The Low Iso here is great but overall the image isn't for me at all. Not to say you can't get something nice out of the monochrome epic. As for the lighting it is perhaps restrained but not in an interesting way to my eye. Tbh i find the whole video lazy, which is quite surprising because i like much of Fincher's work, including for example the commercial he did a few years ago on the red. It was a sports one. Great visual storytelling, lighting, framing etc. This one is just empty all around to me. Guess it's just not to my taste!
 
John Marchant said:
Once people see the camera in use it all becomes crystal clear. I'll admit its uphill getting people to man up and stand by a decision to shoot mono, rather than fearing a potential and unplanned need for colour... Those who take the leap reap the reward. :)
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Talking about "man up", when I got my monochrome I realized I had 24 terabytes of shots i would have to reshoot for Pudl's(lmao doing that somewhat secretly so people don't freak out). Also realized I knew next to nothing about pre-grain black and white photography, and got a four volume set from 1907 explaining carbon print and other grainless processes. Books in that 1907 time period are interesting, in that the victorian photographers (extremely high quality grainless photographs) were being completely replaced by the low quality roll grainy film pushed by kodak and shot by the masses. I also really doubt there are too many copies of these book volumes that explain pre-grain photography, which means people moving to monochrome have about 100 years to relearn.

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Added a shot from my old book on carbon printing ... lmao ... using my RED Monochrome ... also check out the photograph in the book, is named "The Approaching Storm".
 

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This has nothing to do with the camera or the look but I did like how the dancer put him in checkmate.

While some shots are "too sharp" or "too clean" for what we remember images looking like from the era this video pays homage to, there are some shots, especially in the recording studio, that are just about as spot on as you can get in look and feel with modern digital technology.

Fincher captured those scenes so well it's like looking at candid bts photos on the back (or foldout) of an old LP album jacket from the '50s or '60s.
 
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I hope I can get my hands on a Monochrome one day. Lately I've been doing a lot of B&W shoots with my Scarlet and I get a tad jealous every time I see what the Monochrome can do.

Here's a couple of snapshots!

vgESLt8.jpg


pKqADAt.jpg
 
Dmitry Burenok said:
Hey RED, could you please start you own video hosting service? I really dreaming to have an ability to post and watch online videos in P R O P E R quality, different from totally f..d up y....be and others. Seriously it is time to do that. Great BW video btw.
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Odemax?
 
We just did some bumpers in B/W or actually gray scale. No monocrome was used, and even no regular epic as the DP insisted on the alexa I think this would have looked so much better on the epic and tons better on the monochrome:

http://wordpress.syndicate.se/118188-ensrettet/

Would have been nice to shoot epic and epic monochrome on a 3D rig with the lenses aligned to get the colored stuff in color and the BW stuff in full BW.. :)
 
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