Pirates of the Caribbean 4

[Gian Joon]

Great news. Looking forward to it.

 

[michael zaletel]

Hacking and Photoshopping Michael Zaletel's avatar picture to look like a pirate would be pretty incredible....:emote_couch:

lol

arrrrrrr!!!! :laugh:

Arrrrrrr!!!

 

[Todd M.]

Let's just hope this is not the time when they decide to jump the proverbial "SHARK"

With Rob Marshall directing, it very well might. Not that he is a bad director, but maybe not the best choice for an effects-heavy adventure film.

Whether the film is good or not, the fact that Disney and Bruckheimer are staking one of the biggest franchises in history on RED is a true testament to what Jim and company have created. This means there can never again be an argument against RED saying that the quality isn't good enough for mainstream, big-budget film making. We're officially one step closer to Jim getting his OSCAR.

 

[Alexander Nikishin]

That's a big one! Congrats Red. Dariusz Wolski is an amazing Cinematographer, gonna be fun watching his work with Red.

 

[Michael Moreno]

Arrrrrrr!!!

Oh man!! :smilielol5:
There isnt an emoticon that can show how much I laughed when I saw that picture Michael
I somehow knew you were gonna follow through
You are one badass and my new favorite person on reduser
Ive seen your posts before
But this one Ill never forget
Completely awesome
and fuckin hilarious :thumbup:

Its been way too negative and pushy around here
glad it took some pirates to steal the show
score one for Jarred and Red
great news
But Im still blown away by the whole idea of Epic and Scarlet
while others seem to be stabbing at the details
These cameras are gonna be a dream to use
I am looking forward to the size of cams and beauty of the image
and of course unreleased secrets.....:emote_popcorn:

Cant stop Red
Wont stop :sifone::banghead:

 

[Michael Olsen]

Great news for RED and, as far as I'm concerned, great news for Pirates! I'd sure like to be in HI for a little while :beer:

 

[Jason Wingrove]

Thought my post did just that...

Thanks mate, just checking.

if it was coming from someone not on the show Id just call heresay. So Stereo Panavised MX Red ones it is then? You know what 3D rig theyre considering yet?

Thx
Jas

_

 

[Michael Olsen]

Thanks mate, just checking.

if it was coming from someone not on the show Id just call heresay. So Stereo Panavised MX Red ones it is then? You know what 3D rig theyre considering yet?

Thx
Jas

_

Definitely make it heavy. Panavision has around 4 of the Quasar rigs, which will handle 2 reds.

Based on that, I'd guess that they'd be using their own Quasar rigs...if not, I'd sure be interested to learn why they went a different way.

 

[hans de vries]

Hey! I just read in a Dutch newspaper that Todd Solondz' "Life during wartime" is shot on Red! This is what it more less says:"It profits perfectly from the unprecedented sharpness of the new Red digital cameras; "Life during wartime" looks hyperrealistic...
I'm a happy Red owner
(is this off topic?)

 

[Mark Collins]

Oh. No offense to RED or anyone, but I thought Pirates looked really really good shot on film. I loved the cinematography in it, and the grain structure just seemed to work really well with the film. I was kind of hoping they would shoot the 4th one on film too.

Oh well. Congrats to the RED guys!

 

[Alex D. da Silva]

That's ship sailed long ago for me, no pun intended.
I despise sequels in general, but as far as the RED being used to shoot the 4th (!!!) installment I think it's really good news. Congratulations!

 

[Gabe Conroy]

Oh. No offense to RED or anyone, but I thought Pirates looked really really good shot on film. I loved the cinematography in it, and the grain structure just seemed to work really well with the film. I was kind of hoping they would shoot the 4th one on film too.

Oh well. Congrats to the RED guys!

Well, it's the same cinematographer, so this really says a lot about how well Red MX stacks up against film.

 

[Shawn Booth]

Well, it's the same cinematographer, so this really says a lot about how well Red MX stacks up against film.

It does? How so?

If anything, it might say something about Mr. Wolski's thoughts on the camera system. It might say that it's easier on production to shoot a 3D flick on digital rather than film (How do you match the grain on 2 cameras?)?

 

[Mark Collins]

Well, it's the same cinematographer, so this really says a lot about how well Red MX stacks up against film.

Not really. On a film this size, the cinematographer is not the only one to get a say on what format they shoot on.

The thing that made film work for the Pirates movies is that the cinematography style fit with the story. It's for all intents and purposes, a period piece, which fits better being shot on film than digital.

Films like Gamer and District 9 worked being shot on RED because that shooting style fit the story.

 

[Gabe Conroy]

The thing that made film work for the Pirates movies is that the cinematography style fit with the story. It's for all intents and purposes, a period piece, which fits better being shot on film than digital.

But why would it be better? I think the key is dynamic range since sci-fi and contemporary films can get away with a more blown out look and have it work to their advantage. But a period piece can't, they usually go for a sort of soft painting look that requires a lot of dynamic range.

I think MX is getting really close to film in that regard.

The shot in this article was taken off a Red MX camera: http://www.awn.com/blogs/tracking-m...ide-arri-alexa-and-red-mysteriumx-camera-test

 

[Mark Collins]

But why would it be better? I think the key is dynamic range since sci-fi and contemporary films can get away with a more blown out look and have it work to their advantage. But a period piece can't, they usually go for a sort of soft painting look that requires a lot of dynamic range.

I think MX is getting really close to film in that regard.

The shot in this article was taken off a Red MX camera: http://www.awn.com/blogs/tracking-m...ide-arri-alexa-and-red-mysteriumx-camera-test

It comes down to grain and texture. From the various tests and side-by-sides I've seen, film brings out a lot more texture than Red.

Don't get me wrong, I love shooting RED and love shooting with the MX, but I find film simply looks better and more natural.

 

[michael zaletel]

It comes down to grain and texture. From the various tests and side-by-sides I've seen, film brings out a lot more texture than Red.

Don't get me wrong, I love shooting RED and love shooting with the MX, but I find film simply looks better and more natural.

Hi Mark:

How certain are you that by looking at 2 clips at 2K projection, you could tell which clip (same scene) was shot on film and which was shot on RED-MX then processed through a high-end facility to match the film grain/texture? In other words, are we talking about an acquisition difference or a default non-processed final product difference. The advantage of MX-Red is that you can make it look indistinguishable from film yet that's just one path you can go with the RAW R3D's. With film your locked in.

-michael zaletel

 

[Sergio Perez]

Just heard you guys were in Macau at the Venetian from a friend who had a chance to talk with one of you guys. Lady luck was against me since it sent me to Shanghai Expo durting this week. Heard you guys brought an Epic. Would love tosee it in person!

Anyway, back on topic, congratulations on the Pirates 4. I'm curious if they are going RED 3D with it. Is it going to be 3D? I'm almost certain it is, following today's box office for 3D films...

 

[Gabe Conroy]

It comes down to grain and texture. From the various tests and side-by-sides I've seen, film brings out a lot more texture than Red.

For Pirates of the Caribbean though? I don't recall much grain in any of the movies...

 

[Shawn Booth]

I think the key is dynamic range since sci-fi and contemporary films can get away with a more blown out look and have it work to their advantage. But a period piece can't, they usually go for a sort of soft painting look that requires a lot of dynamic range.

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This is more of an opinion than anything. Why can't you shoot a period piece with blown highlights? If that's the director's vision...

Again I ask you (your previous post) - It does? How so?

If anything, it might say something about Mr. Wolski's thoughts on the camera system. It might say that it's easier on production to shoot a 3D flick on digital rather than film (How do you match the grain on 2 cameras?).