“Set Up”- Bruce Willis, Ryan Philippe and Curtis “50 Cent” Jackson.

[Christian Munoz D]

I just finish watching this movie, my first impression was been shot on 5D or F950. I was impressed to see at the end of the credits: “Filmed on Red One”.

The movie just look awful…seems like half of the film was shot at 360, clipping every other shot, CC inconsistent, and I don’t even want to talk about the story….

Anybody on Reduser worked on this film who can give any clues what going on here?


EDIT:
I would like to put my question in context here, since there are several people on this thread that went on a different way.

(Excuse my English)We had this client who is producing a film and wanted to use our equipment and services including me as a DP. We did met at our studio and showed him and his producer our more recent work that goes from film to digital using a wide range of cameras equipment including DSLRs (if interested check our site for the gear we use)
When we got to the point to talk about the capture format, we recommended the best options we have that may fit his necessities, of course we mention our Red One and Epic cameras as a first choice. So, since our client’s project is an action type film, he brought to our attention how bad look for his taste the movie “Set up”.
Quickly we watched the trailer online, but we did not see a big issue here besides compression artifacts, so I told the client I will be back to him about that. The same day after the client left, we decided to purchase the Blu-Ray and to watch and analyze this film. We did it simultaneously in two different professional grade monitors and… bingo. Big issues are the motion artifacts created by opening the shutter mainly on the nights/dark situations (please keep in mind that motion artifacts can be created on the Blu-ray compression process too). As a second issue, from our point of view, the highly contrasted grade of the film did not helped at all the Red footage and it may caused the clipping on the highlights. Regarding the other issues we founded I don’t believe this thread is the place to discuss them.
As a conclusion unfortunately I wasn’t able to explain to my client the “look” of the “Setup” from a firsthand source, and obviously I will never, ever, give the type of answer I have received from some people here at the forum. Lastly, the client is very pleased with our work, so he agreed to do a camera test of one of his scenes and he will decide what camera gear, format, and post workflow will meet his necessities. Personally I really hope he decides for the Red One Or Epic, since we love them and have invested a great deal of money on those setups.

 

[Christian Munoz D]

Anyone?

 

[Jerrod Cordell]

Or nobody wants to come forward to say they worked on it after you said how bad it was.

 

[Christian Munoz D]

Probably, but that is just my opinion. I would like to hear more POV.

 

[Jack Cooper]

Christian,

No offense, but the camera is but a small piece in the entire production puzzle. Great footage in the wrong hands can lead to unimpressive results. There are plenty of opportunities for others to impact the final look after it leaves the mag.

I haven't seen the film, so am unable to answer your original question.

 

[L. Langer]

Steve Gainer was the Cinematographer (and prime camera operator it would seem) with several others running B and C cameras, and post was done at Tunnel Post in LA. I haven't seen it so I can't say it's bad but there are several different people who would be responsible for something looking like poop at various stages so you can't really point the finger at someone and say they did it when you don't know who did what to the digital files at any given point.

 

[Jeffrey T. Morgan]

I just "spot checked" this movie, and here is what I see:

Looks like a decently lit and composed show. It looks like it's just a very contrasty color correct. I don't see a 360 degree shutter angle (if thats what 360 means to you). Looks like normal, healthy 24p. And it looks clean, clear, and well exposed, but it's just crushed hard.

So really, it's just a color correction choice that's not typical of most larger movies of similar genres. But again, that's just my take. I would ALMOST bet my incoming Scarlet that the original footage looks pretty darn good.

 

[N_Villers]

I have seen at least one film's original Red footage I worked on as DIT shot by a prominent DP that has been massacred in post to the point I don't want people to watch it. Funny things can happen with Red footage once it leaves your hands.

 

[Marc Wielage]

I have seen at least one film's original Red footage I worked on as DIT shot by a prominent DP that has been massacred in post to the point I don't want people to watch it. Funny things can happen with Red footage once it leaves your hands.

I didn't work on this show, but my bet is that the director and DP asked for and got the look they wanted. Creative people are allowed to make choices, even if it's not one shared by all of the audience.

 

[N_Villers]

Perhaps true and as I have not seen it myself I cannot make a judgement. That said my statement still remains true.

 

[Christian Munoz D]

Christian,

No offense, but the camera is but a small piece in the entire production puzzle. Great footage in the wrong hands can lead to unimpressive results. There are plenty of opportunities for others to impact the final look after it leaves the mag.

I haven't seen the film, so am unable to answer your original question.

No offense at all, the forum is for discussion and an informative runway. Every opinion is welcome when is presented with respect as you did.

Yes, we all know the camera is just part of the puzzle. At least for us the people who had been working on this business for two decades or more.
I just want to know some other point of view and it is not only product of my imagination…or the imagination of everyone that was in the room watching the movie.

 

[Christian Munoz D]

I just "spot checked" this movie, and here is what I see:

Looks like a decently lit and composed show. It looks like it's just a very contrasty color correct. I don't see a 360 degree shutter angle (if thats what 360 means to you). Looks like normal, healthy 24p. And it looks clean, clear, and well exposed, but it's just crushed hard.

So really, it's just a color correction choice that's not typical of most larger movies of similar genres. But again, that's just my take. I would ALMOST bet my incoming Scarlet that the original footage looks pretty darn good.

I suggest looking again.

 

[Jannard]

It is well exposed and hard graded... get over it.

Jim

 

[Zé Caralho]

This is the kind of grading that its difficult to do well on Red. The highlight and shadow rolloff is still my main issue with the MX sensor, is too short, it clips to fast on either way. Although is much better than the Mysterium, it's still not quite like the Alexa rolloff.

 

[Christian Munoz D]

It is well exposed and hard graded... get over it.

Jim

Unfortunately I can’t afford to give this type of answer to my clients. Thank you for your input anyway.

 

[Paul Ellington]

This is the kind of grading that its difficult to do well on Red. The highlight and shadow rolloff is still my main issue with the MX sensor, is too short, it clips to fast on either way. Although is much better than the Mysterium, it's still not quite like the Alexa rolloff.

If you like fuzz I guess the Alexa is for you.

 

[Zé Caralho]

If you like fuzz I guess the Alexa is for you.

It is actually. Because I like quality over hype, the type of nonsense hype like your are doing now. Thank you very much.

 

[Justin Marx]

Unfortunately I can’t afford to give this type of answer to my clients. Thank you for your input anyway.

You own a RED?

 

[Christian Munoz D]

You own a RED?

I own Red One and Epic. So what is your point, Here?

 

[Hrvoje Simic]

This is the kind of grading that its difficult to do well on Red.

Depends on the colorist.