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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 :)

Pirates of the Caribbean 4

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geoffboyle said:
On Mutants, which followed this work flow, we had 12 D mags which covered about 3 days shooting with a single camera and we had major problems at one point because of missed flights.
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Yes, in my case, I figured two-days worth would be enough because we were shooting in Los Angeles, but ultimately we ended up shooting a 60:1 ratio for that movie and the whole data recording idea at the time (2003) would have been unrealistic.
 
Steve Freebairn said:
if you take anything away from this post, it should be that you can work on a wide range of shows with easy to get equipment but the single most important factor is the team of people and a basic understanding of how shooting RAW works and the steps that are needed to verify footage, both Visually and with Checksums. If all you do is copy over footage and never look at it you're going to run into issues, and likewise, if all you ever do is scrub through the footage but don't do checksums, it will come back to haunt you. At the very least make double copies through two paths.
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Steve,
I just want to thank you and all the others who are sharing TONS of incredibly useful information in this thread. I'm not in the position to talk to producers about this stuff, but at least now I can get to pass some of this information to cinematographers who are not used to the digital and Red workflow yet, and trust me, on this side of the world there's plenty of them, and it's not easy to convince them.
So again, thank you all for sharing so much, this kind of kindness shouldn't be taken for granted, ever.

p.s. saw the trailer for POTC4 2 days ago...looks absolutely amazing on the big screen...
 
Francesco Bonomo said:
Steve,
I just want to thank you and all the others who are sharing TONS of incredibly useful information in this thread. I'm not in the position to talk to producers about this stuff, but at least now I can get to pass some of this information to cinematographers who are not used to the digital and Red workflow yet, and trust me, on this side of the world there's plenty of them, and it's not easy to convince them.
So again, thank you all for sharing so much, this kind of kindness shouldn't be taken for granted, ever.

p.s. saw the trailer for POTC4 2 days ago...looks absolutely amazing on the big screen...
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Steve and Zach are top notch data workflow supervisors and a pleasure to work with.
 
The problem is- in how many people work (directly handling)with camera on film set and on digital production ? With digital media it happens to be less people and sometime they are rather less trained to say at least. On a film set its allways 3 people- puller, ac, loader if it's not a commercial or a short. On digital I never seen moore then 2. And on tv series it could be 1 for the camera. The most important part that a digitall loader (if you can call him that) have a lot more influence on production then a film ones (who in most part is more observing, and not taking any decisions). But digital manager mainly tried to be under paid by production , what ever they do for their set.
 
Alex Stolpakov said:
The problem is- in how many people work (directly handling)with camera on film set and on digital production ? With digital media it happens to be less people and sometime they are rather less trained to say at least. On a film set its allways 3 people- puller, ac, loader if it's not a commercial or a short. On digital I never seen moore then 2. And on tv series it could be 1 for the camera. The most important part that a digitall loader (if you can call him that) have a lot more influence on production then a film ones (who in most part is more observing, and not taking any decisions). But digital manager mainly tried to be under paid by production , what ever they do for their set.
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That's exactly why threads like this are so incredibly useful, and why we should all be thankful for the information provided so generously by some of the best professionals in the field. Sometimes it feels like getting a PhD in digital workflows.

There are many situations (or maybe countries) where very few people know what all of this is about. Unfortunately I've seen this happening often, especially on tv series: what happens is that someone high up decides to move to digital acquisition just because they've heard it's better, cheaper and faster, without really knowing anything about it or trying to learn about the workflow or other "technicalities" (their words). Then they expect the 2nd AC (who was loading film until the day before and has little or no interest in becoming a DIT) and the video assist (usually an unpaid camera trainee on his first job, who's probably there just because that was the only chance he had to get his foot in the door, and 99% of the times then moves to a different department..or a different career) to learn everything about the workflow on set and to come up with an efficient way to deal with the data, sometimes on a 3-year old computer "borrowed" from the production department. Then you hear the same people (the ones who decided to "go digital" in the first place) complaining about the camera they decided to shoot on, the difficulty of shooting digital, and all the problems they had on set and in post-production.
Thank goodness it looks like things are changing, but still painfully slowly.
 
Interesting how Jack Sparrow became the focus of that franchise, much like Doctor Smith took over 'Lost in Space'. :skep:
 
I'm fascinated to see how Jack Sparrow will fare as a protagonist. In the first three films, Elizabeth is the protagonist. Her character arc begins with her fascination of pirates as a little girl, and ends with her becoming Queen of the pirates. Jack Sparrow had a supporting role, in much the same way that Han Solo did to Luke in SW. Often the coolest characters in movies aren't the ones that the movie is about.

I'm curious as to how well they can transition Jack to driving the whole story.

I've been struggling with a character of my own. Do I want to tell a cool character's complete story, or try to leave the story open ended by having my character witness other stories? Kind of like the shows 'Quantum Leap', 'Knight Rider', 'The A-Team', 'Touched by and Angel' or 'The Ghost Whisperer'... The main character(s) that drives the series, and is present each episode, is really just a witness to a new story about the people (s)he meets.

There are so many different ways to approach a script, and that's what makes story-telling so interesting.
(...and then there are so many ways to visually show that story!)
 
Honestly this Pirates 4 Have the greatest image i ever seen from a RED camera , For the first time i could not have a clue of was shot on film or digital (yes for the first time )

I am a colorist and i do know that RED footage need quite a bit of work to achieve this richness and depth typical of film ...

I would love if JIM convince stefan sonnenfeld (the colorist of this movie) to Reveal the color correction approach for this film (i mean technical details )

Off course this results is a combination of Great lighting (DP) and post , but as i said , every colorist knows that RED need to be properly Graded

SO i hope we can get the technical info about the grading approach

Thanks

g
 
Gabriele Turchi said:
Honestly this Pirates 4 Have the greatest image i ever seen from a RED camera , For the first time i could not have a clue of was shot on film or digital (yes for the first time )

I am a colorist and i do know that RED footage need quite a bit of work to achieve this richness and depth typical of film ...

I would love if JIM convince stefan sonnenfeld (the colorist of this movie) to Reveal the color correction approach for this film (i mean technical details )

Off course this results is a combination of Great lighting (DP) and post , but as i said , every colorist knows that RED need to be properly Graded

SO i hope we can get the technical info about the grading approach

Thanks

g
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Properly Graded, properly Exposed, properly focused...

A good DP, a good team, a good taylor made workflow.

With the new MX ( not so new) Sensor and the " magic" behind the color science, RED cameras are making great image for months.
This is not the first feature film that prove that on big screen.

my 2 cents

cheers,

R. Varandas
 
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