Welcome to our community

Be a part of something great, join today!

Register Log in
  • 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 :)

LOOM - ONLINE

Ian Vertovec said:
Essentially the same workflow as "Tattoo", except 3D. Conformed and color graded with Pablo.

We were told by RED that the film would play at 10ftL behind glasses at NAB. First we did the supervised color with Darius and Luke at 10ftL in 4K 2D. Then pushed the color to the 4K 3D master and trimmed and depth balanced at 10ftL.

After Jim, Jarred, Luke, Darius, and Ridley approved the 4K 3D color, we handed over the files to RED for REDRAY encoding.

Then we trimmed everything for standard DCI deliverable at 14 fTL 2D, and 4-4.5 ftL 3D. All in 4K of course.
Click to expand...

whoa. 10ftL. :-)
 
For me the real reason to watch was Giovanni Ribisi...what a great actor!
Heaven, in which he played an Italian policeman opposite Cate Blanchett is one of my all time favorite films.
Without his acting chops there would have been no story.
 
What a great short... What lenses did they shoot with? RPPs?
 
Rob, Thanks so much. I can sleep again!

I was all excited putting my new GTX 670 4GB in my Mac to then realize I need a power adaptor! So Much for seeing what the Red Rocket and cs6 can do.. for now...
 
I was trying to resist seeing the short in 2d first ...but the temptation was too great!

Story : A perfect meld of intrigue; A sweeping change of emotional state from start to end; Fabulous.
Camera work : An extension to our sense that tips you into gently into a new world effortlessly.
Dialogue : Believable, adding to the depth of the characters.
Acting : consistent performances with highly emotive immersive peaks (eg lead character shouting, but sound replaced during attemped shooting worked like a charm). Very impressed.
Lighting : Added extra gamut to the mood, and dimension to the narrative.
Audio : The visceral wave of low energy really helped instill the sense of scale in the early chapers. Dialogue was pristine.
Editing : Seamless, unfatiguing, natural and well paced.

Looking forward to watching in 3D. I would be very interested in seeing the 'making of' (if one is to be made), the creation of the story board, and to what extent the lighting setup is a function of the script - or from the mind of the gifted cinematographer.

AJ
 
I'm having a lot of trouble downloading this for some reason, I think 5 attempts until one time where I tried to nurse it to finish where the download would stop and I would restart it then at around 800 mb/s in it reset back to the start for some reason.
Really brought it home why I haven't tried to get this before because I suddenly remember a similar thing happening the last time I tried to get it.
 
Is there a shot by shot breakdown of this production?
There is one shot that Im curious about.
I think it was the first time he started to play with the straw and cup.
It seems (to me) it was shot at a higher frame rate.
Can anyone comment?
 
Beautiful and mesmerizing. Very curious how it looks in 3D.
The lighting and grade is very well done.

And I love the RED camera cameo hanging overhead in the "green-lazer" lab.

My compliments to everyone involved.
 
Denoise II

Denoise II

In the really low-lit scenes I was impressed by what had been captured, but didn't like the grain. Ridley mentioned that he tends to 'fight the grain' in the other thread, so I thought I'd try Magic Bullet Denoiser II on that section. I was stunned by the results. If you like grain, leave it in, but if not, the result from Denoiser II is superb. I won't post the modified clip, because it might be some sort of copyright infringement, but give it a try if you're interested. With a little effort I was able to dial out all the grain and keep all the detail. It looked like a perfect low-light shot. And that's working with the H264.
 
There is so little noise in this film that I'm surprised you found it distracting. I think any less noise and I'd find it way to clinical. Goes to show how peoples preferences can be so different.


ChristopherKenworthy said:
In the really low-lit scenes I was impressed by what had been captured, but didn't like the grain. Ridley mentioned that he tends to 'fight the grain' in the other thread, so I thought I'd try Magic Bullet Denoiser II on that section. I was stunned by the results. If you like grain, leave it in, but if not, the result from Denoiser II is superb. I won't post the modified clip, because it might be some sort of copyright infringement, but give it a try if you're interested. With a little effort I was able to dial out all the grain and keep all the detail. It looked like a perfect low-light shot. And that's working with the H264.
Click to expand...
 
Bob Gundu said:
There is so little noise in this film that I'm surprised you found it distracting. I think any less noise and I'd find it way to clinical. Goes to show how peoples preferences can be so different.
Click to expand...

If I'd been watching a short shot on film, it wouldn't have stood out, because there would be grain throughout, and it would simply increase in the low-light. But because most of the film was so sharp and clear and grain free, the ultra-low light shots jumped out at me. I wouldn't want to make the whole film more clinical, but it's really interesting to see what you can do to the ultra low-light shots. I've always thought of filters such as Denoiser II to be last resorts for bad shots, (and a bit of a gimmick) but now I'd consider shooting in extremely low light, knowing I could match the look of the rest of the film. In fact I'm planning on doing exactly this the next time I shoot. Well, the next time I shoot Epic, which may be a few months away, damn it.
 
You must log in or register to reply here.
Back
Top