OBLIVION starring Tom Cruise and Morgan Freeman. Shot on F65 and EPIC.

[Jon MIchael Puntervold]

Even with Oblivion, my friend said 'it looks great, and it was shot on Red Epic' I said no, no... there is no way that shot is red.

I sincerely doubt that the mad scientologist would look very different had the feature been shot on Epic as the main camera; by the same DoP, glass and just as skilled a team...

...film buffs like Quentin Tarantino said, you know what, the new Red has the depth and richness of film, i'm going to give it a go.

If we say "it's every bit as good as film"

They will have reached their golden standard and goal... NO!, they are not there, not even close, push em, push em, push em!

Directors like film due to other factors than just image quality. Concentration on set, the magic of a rolling film camera and remember; film is 100% real and physical. You also _need_ skilled/trained people, it's a craft. Almost everybody can shop a digital cinema camera and shoot some shit out of the box and call themselves filmmakers.

BTW: We are not even close to 35mm image quality? It's already been surpassed in many aspects. Digital image quality today is satisfactory as a replacement for film. That is why people are switching. I.E. for Rust & Bone they tested two types of Kodak stock (and the Alexa), but choose Epic.

 

[Ed David]

Just to clarify some facts about the Oblivion film. It seems that the majority of the film was shot on the Sony F65. Steadicam shots were shot on the Red Epic. Don't quote me on that, but that's what I have found in my research. On that note, it's probably the best looking digital film trailer I have ever seen in the theatres. So go Sony and Red!

 

[Steve Sherrick]

Amazing that the F65 just sold for 39K on ebay, brand new. It would be a great kit to have the F65 and an Epic. At that price, you could have the two cameras for what it used to cost for a decked out F900.

 

[Martin Stevens]

Soon there will be software packages that take the data from the Red Dragon
and make it look indistinguishable from scanned 35mm Negative.

And then hopefully digital will look just as good, equal to, and even better than film to those
who, as of today, still think digital has not matched films esthetic.

 

[Prahlad Strickland]

Amazing that the F65 just sold for 39K on ebay, brand new. It would be a great kit to have the F65 and an Epic. At that price, you could have the two cameras for what it used to cost for a decked out F900.

that's a steal, i'd like to go with that route, red epic teamed with F65

 

[Ketch Rossi]

Amazing that the F65 just sold for 39K on ebay, brand new. It would be a great kit to have the F65 and an Epic. At that price, you could have the two cameras for what it used to cost for a decked out F900.

Indeed Steve, but after seen and handling that monster of a camera, I prefer to stay with Dragonized Epic cameras...

 

[Sanjin Jukic]

Regarding films / trailers, I thought both the Oblivion and Rust and Bone trailers looked good and want to see the films very much.

Regarding specifics of digital capture... I saw the Rust and Bone trailer not knowing what it was shot on... then the shots at :23 and :30 and :32 came along and I was like "definitely digital, probably RED"

I don't think it's a silly argument... because film is dying and if we don't demand more / better color rendering options from the digital manufacturers, we will be left without some serious gaps in our artistic palette.

I personally am no big fan of film. It's expensive. It's not environmentally friendly. But I do like the colors and I do hope that digital gets to the point where it is easy to emulate some of the film aesthetic. If digital is really so pristine and perfect, it should be easy to simulate film's non-linear properties, right? I think the answer is just that digital isn't quite there yet and that it's our job to tell the manufacturers it is a priority. End 2c - and promise that any more 2c from me will be confined to the skintones thread

Bruce Allen
www.boacinema.com

Bruce always speaks wisely.

Also he should deserve one of RED Forum Oscars just because the real Oscars have got pretty devaluated recently...or precisely speaking very adjustable...also I just left in a local "Beauty Shop" to make for my visual effects much better achievement in makeup and hairstyling of my own brand new look...Just kidding...:emote_hippie::laugh:

 

[Adrian Jebef]

Soon there will be software packages that take the data from the Red Dragon
and make it look indistinguishable from scanned 35mm Negative.

And then hopefully digital will look just as good, equal to, and even better than film to those
who, as of today, still think digital has not matched films esthetic.

Totally indistinguishable except:


Film is logarithmic

Film has grain

Film is made up of 4 material layers

Film is tangible and can be treated as such


Software is good and I'm sure Dragon will be good but neither will ever be film. And for that we should just all take a moment and cry... :frown:

 

[Vadim Bobkovsky]

Software is good and I'm sure Dragon will be good but neither will ever be film. And for that we should just all take a moment and cry... :frown:

I'm sorry, but there's a difference between "being like film" physically and having 99,99% of "film look" built-in or as optional feature in post. Dragon's wider dynamic range and cleaner channels will help, among other things, though it's not gonna look exactly like Kodak Vision 3 or Fuji Eterna out of the box, obviously. Eventually, as been said before, you might still miss *working with* film or it's little quirks, but overall as sensors and color science improving, film look emulation will be more accurate and precise.

This is MX sensor and film LUT applied, even though it's a lil grainy / noisy it looks quite good to me [image from LUT thread]

 

[Phillip Stefani]

I just watched the latest trailer for OBLIVION at: http://trailers.apple.com/trailers/universal/oblivion/

I found an interesting interview with Kosinski where he touches on his decision to use the F65 over the Red and Alexa (although I think he shot some things on the Epic). Here's the relevant excerpt from the interview with Collider:

You used the Sony CineAlta F65 camera.

Kosinski: Yes.

Which I believe just came out earlier this year.

Kosinski: Yes, it came off the assembly line a couple weeks before we started shooting.

I’m curious what was the motivation to use that camera as opposed to the ARRI Alexa or the RED Epic?

Kosinski: The F65 is kind of the next generation of the F35 which is what I used on Tron and was really happy with. I’ve always liked Sony, the way it renders color and skin tone. I’ve always felt that Sony has always had the best color. The Alexa is a fantastic camera, but the F65 is a 4K camera with an 8K chip, so it takes an 8K sensor and down samples it to 4k, so you get an extremely sharp 4k and for this movie and the locations we were going to in Iceland detail for me was very important. So I tested all the different cameras I tested different frame rates, thought about 3D, but in the end I decided the 4k 2D was the best format for this movie. And I think we’ll be the first movie out on the F65 because After Earth was also shot with that camera and I think they’re out in the end of the summer.

How soon do you think we’re going to get to the point where a digital camera can do like IMAX resolution? Do you think that’s possible?

Kosinski: Well, I’ve heard people say different things on what the actual resolution of IMAX film is. I think David Keighley over at IMAX has told me it’s 8K, but I think the F65 in 4K is a huge leap forward in resolution. So personally even if I was given the choice, I’ve always shot digital so for me F65 would be my choice now for almost anything. For me it kind of feels like a 65mm, a digital 65mm in terms of its resolution and sharpness. ​

 

[Kemalettin Sert]

http://www.fdtimes.com/2013/03/29/claudio-miranda-asc-on-oblivion/
dont care what they use sony or pony i must say Tron Legacy and Oblivion looks 10x better than Alexa/Epic shot movies..

 

[Leland Haushalter]

I was disappointed to here that this will be release only in 2K. I was looking forward to a 4K release of this.

 

[Nick Morrison]

http://www.fdtimes.com/2013/03/29/claudio-miranda-asc-on-oblivion/
dont care what they use sony or pony i must say Tron Legacy and Oblivion looks 10x better than Alexa/Epic shot movies..

Holy fucking shit!!! Did you READ THIS ARTICLE??!!!! Claudio Miranda LIT OBLIVION WITH 500 FOOT PROJECTION SCREENS!!!!

WTF!!!!!!

He shot b-roll in Hawaii, etc and PROJECTED THE B-ROLL ONTO MASSIVE WHITE MUSLIN...And not only lit the stage this way, but also gave the actor's a "real" looking environment and backdrop to play in.

WTF!!!!

 

[Jeff Kilgroe]

This is about to become a very popular way to light and shoot. It just makes so much sense in terms of creating environments and designing lighting, having talent interact and exist within an environment... The technology and means to do this are here now and are about to go mainstream.

 

[Mike P.]

That's ironic; it's pseudo-natural light (which "professionals" tend to hate). For perpetual magic hour just loop the clip.

95% light with front projection (of a real environment) and then off-camera bounce for fill if they needed it pushed a little higher.... Lit the entire space and then just let the actors go around in it (he didn't specifically light faces for their marks.)

Lighting is so passé.

 

[Bob Gundu]

I worked at Alias|Wavefront for 6 years and remember when Mental Ray rendering was maturing. It's essentially the same concept now for lighting sets. This is a CG rendering but the lighting is generated with photons from the environment.

http://www.youtube.com/watch?v=YRU3Z0W6LIg

 

[David Mullen ASC]

That's ironic; it's pseudo-natural light (which "professionals" tend to hate). For perpetual magic hour just loop the clip.

95% light with front projection (of a real environment) and then off-camera bounce for fill if they needed it pushed a little higher.... Lit the entire space and then just let the actors go around in it (he didn't specifically light faces for their marks.)

Lighting is so passé.

First of all, professionals don't hate natural light, and second, the set-up you are describing involves artificial lighting!

 

[Freya]

If you like that, then some other movies to check out using a similar technique would be blade runner which features that great front projection scene in the Tyrell Pyramid, and also the Vittorio Storaro tv series of Dune which features extensive use of giant translites. Sometimes it works better than other times but it's amazing how well it all works and how he brings it all together on such a low budget!

Freya

 

[Bob Gundu]

old school.

http://www.criticalcommons.org/Members/ccManager/clips/writtenonthewindprocessfxconvertible.mp4/

 

[Eli Jarra]

I must say after seeing these shots, it is the coolest 'practical' environmental scenes I'd ever seen. All I could think about how great it must have been to put the actors in that world without having to 'visualize' it on a green screen. Plus, all the saved render power pulling keys of course!

Holy fucking shit!!! Did you READ THIS ARTICLE??!!!! Claudio Miranda LIT OBLIVION WITH 500 FOOT PROJECTION SCREENS!!!!

WTF!!!!!!

He shot b-roll in Hawaii, etc and PROJECTED THE B-ROLL ONTO MASSIVE WHITE MUSLIN...And not only lit the stage this way, but also gave the actor's a "real" looking environment and backdrop to play in.

WTF!!!!