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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 :)

"Knowing"...

I'm going to see it this weekend I think... I mostly want to see it because it was shot on RED. The original trailer had me completely disinterested. The newer trailer is a lot more appealing and has me wanting to see it for more than just it's shot on RED origin.
 
Critics mostly hate it. Roger is pretty alone...
But they hated "Blade Runner" too and thought little of "Vertigo", so what do they know?
:)
 
Box Office Mojo

Box Office Mojo

What is your top choice to see this weekend (Mar. 20-22)?

24.9% Knowing
22.1% I Love You, Man
13.9% Watchmen
12.1% Duplicity
11.1% No interest this weekend.
3.8% Race to Witch Mountain
2.7% Taken
2.0% The Last House on the Left
1.9% Coraline
1.8% Slumdog Millionaire
1.6% Other

LINK>>>
 
Jeff Kilgroe said:
I'm going to see it this weekend I think... I mostly want to see it because it was shot on RED. The original trailer had me completely disinterested. The newer trailer is a lot more appealing and has me wanting to see it for more than just it's shot on RED origin.
Click to expand...
Jeff,

Same here for Che, seen two days ago. As I could have the opportunity to write elsewhere*, the RED ONE performance, as big screen experience, is beyond the initial expectations of more than one RED ONE reservation holder(s) from day one.

E. :-)
 
Variety's review today mentions that KNOWING was shot on a RED ONE. Whether the reviews for the film are good, bad or indifferent, RED has arrived squarely on the mainstream cinema map.
 
I saw the movie yesterday and I must say the most exiting moment was to see the "Shot on Red" logo at the end credits!!!

The movie looks great!!!
 
George Wilcox said:
Those who know, know that they know. Those who don't know, don't know that they don't know.
Click to expand...

You will See = Unconsciously Competent

See and See = Consciously Competent

Don't See Me = Consciously Incompetent

It's You & Me = Unconsciously Incompetent

Avoid that last person as they will drain you dry, but do realize they may be competent in other areas. And there are many areas where we are not competent.

Rosco

P.S. "Hey kid with P.H.D. in Psych make sure those fries are a fresh batch!"
 
I just saw "Knowing" and at first all I was doing was examining the picture, which looked really good. But then I got interested in the story and the visuals. I might go see it again if I have the time. I would really like to see it digitally projected next time if I could. The story kind of made me feel this sense of helplessness. But I really enjoyed the movie and the sound design.
 
Just came back from seeing the movie projected in Georgia's only all 4K theater at The Avenue Forsyth. They are only projecting things in 2K as of now, from what I understand. Looked like a nice, clean image that I would compare very readily to film in the softness of the quality. No grain, no noise in the shadows, anywhere. Also, I kept looking for a purple sun or hot light, but didn't see any. Also, no skewing. Basically, seemed just like a regular movie.

I don't think I'll comment on the movie itself, since I went there looking to see what it would look like "knowing" it was shot on RED. Technically, yes, RED has proven itself very, very capable.
 
Having just come back from a digitally projected screening here in Orlando I was very impressed with what had been accomplished and the VFX shots were simply astonishing. I know several individuals have chimed in here while this film was in post productions but I would love to hear new news about the hurdles, software, individuals, lenses other accessories that made this film come to fruition. The story is interesting all by itself but the technology (and people behind it on this film) that captured this story are the true warriors here with many tails I'm sure to tell about the process... That is unless they are all on long sabbaticals from exhaustion as I'm sure there were a few bumps in the road along the way.

Mainly coming from and audio background I have found it very interesting that the Film/Digital cinema is right were analog/digital audio were five years ago. Several heated debates from two camps at AES conventions over old school vs new and better vs best. Now here we are years later with our ProTools HD rigs and 2" tapes collecting dust and not much debate, just nostalgia. Giving this new digital cinema technology and enough time I feel it will be the same revolution when mono went to 2-channel stereo... and then later on mixed and managed properly (here's to hoping the loudness wars don't translate into contrast wars and higher sample rates don't translate to greater resolution and bit depths led by marketing and not by technical merit :P).

Fun times ahead! :)
 
Just saw it as well, film projected. Looked great and no noise plus the VFX were amazing and incredibly gnarly compared to other movies.

Aside from looking great, the movie was way better than critics said. Its also funny to think that I was probably the only one in the theater that knew it was "Shot on Red."
 
What a beautiful film. Just got back from a 2K Christie projection. it was lovely. It looked better aesthetically than any "film" I've seen. I love the RED look.
 
I'll comment on the film. Highlight below.

The blocking, soundtrack, and some of the acting reminded me of some of the more cheeky 50s sci-fi films that I love. So high score in that area. That said, some scenes will haunt my dreams for nights to come. Overall, the writing was horrible. I feel like maybe the writers somehow thought they were going to get Dakota Fanning to play the young boy because the dialogue was just way too over the top for someone his age. Dakota could have pulled it of 5 years ago, I'm sure. There were only a few scenes that feel really "directed" because the actors' performances were all over the page ranging from inclusive and dramatic to gut-wrenchingly awful. Nick Cage went from decently convincing to Bangkok Dangerous in a New York minute and it was extremely distracting. And, unfortunately, this mainly appears to be the director's inability to wrangle his acting performances and shoddy writing- the latter of which may have been salvageable had it kept that 50s sci-fi feel the whole time. I wonder if mentioning that these writers have been commissioned to rewrite The Birds for Michael Bay (producer) might turn the stomachs of some of you reading this. Even with those comments, this flick was SO much better than say... The Day The Earth Stood Still from earlier this year.

Onward to RED! I saw the movie projected on film which would have been fine save for the fact that our local cineplexes hire near-sighted folks to pull focus... so everything was soft. So, needless to say, I did not get to see Knowing in even half of its glory.

Somehow after all that I find that I have the same emotions about Knowing as I did the now-defunct TV show Jericho. In every regard it deserves a scathing review like Claudia Puig gave it in USATODAY this morning. But deep down... beneath the layers of the art cinephile that I have come to be... I enjoyed this film. I'll probably even buy it on Blu-ray.
 
I saw it on a 2K Christie projector at Cinetopia. Visually fantastic. So much detail. It's a good showcase for the capability of the RED ONE.
 
Just saw Knowing this afternoon (on film) and have to say I'm incredibly impressed. The theater we saw it in looked very dark though. The trailer I saw online had a vibrance of color that was not there in the theater. Can't tell if this was Proyas' artistic intent or dark from the projector. Can anyone else comment on this? With that being said, the low light capability was astonishing. The detail in the shadows was fantastic. Just wish we could have seen it digital. As for the storyline, I thought it was ok at best. The ending kind of ruined it for me but it's not the type of film I enjoy. But I have to recommend it just to see what this camera really can do. Good job Red.
 
David Tragger said:
... I would love to hear new news about the hurdles, software, individuals, lenses other accessories that made this film come to fruition. The story is interesting all by itself but the technology (and people behind it on this film) that captured this story are the true warriors here with many tails I'm sure to tell about the process... That is unless they are all on long sabbaticals from exhaustion as I'm sure there were a few bumps in the road along the way.
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Most are back from their sabbaticals.. no rest for the wicked.
Good write-up here on the fx: http://vfxworld.com/?atype=articles&id=3941
No in-depth info about handling the "Red" footage, but then the capture medium is not really the difficult part of the process... and that's the way it should be.
cheers
Chris
 
Phil Bates said:
Yes, Joe, I saw it on film yesterday it felt dark to me. Like they had the gamma curve pulled down and de-saturated the colors.

Phil
http://www.artbeats.com
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Hi Phil. Did you see it in digital? I just pulled out "The Crow" on DVD just to compare and that had a similar look/feel. The daytime shots, especially the scene where Cage is driving over the bridge into New York, looked very unsaturated. Personally, I love the look. Just curious if it was timed like that or a limitation of build 15.
 
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