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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 :)

Soderbergh shooting Contagion (pics)

The trailers look very cool. Are those photos from Hong Kong?
 
To think that Soderbergh might never direct again is too painful to endure-- I try not to think about it. Che is one of those marathons that I like to experience one or twice a year. Who else is truly that ambitious?
 
Yeah, tell me about it. I recently rewatched the RED documentary on the "Che" Criterion Collection edition. I'm still astounded by the leap of faith Soderbergh took in using those early stage REDs on the shoot.

 
I saw CONTAGION last night in IMAX at Chicago's Navy Pier. Absolutely stunning. The most recent IMAX film I had seen was THE DARK KNIGHT. I admire Chris Nolan's loyalty and love of shooting on film, and THE DARK KNIGHT looked great on the IMAX screen. But I was floored that CONTAGION absolutely held its own on the same sized screen, and he didn't even shoot with the Epic.

I came across THIS interview with Soderbergh that had some interesting bits regarding Soderbergh's take on IMAX, shooting with the Red, etc. Here are a couple of snippets:

Beaks: Seeing it that way [in IMAX], do you then kind of wish you’d composed certain shots differently?

Soderbergh: A couple things I would have done differently. What I realized in this sort of extremely wide tableau… it’s a sad fact of life that everything looks better shot wide open on a lens - which is hell for the focus puller, but that’s just the way it is. It gives you more depth and it just looks better. What I realized looking at it in IMAX is in some of the tableaus, where people are fifty or sixty feet away, that now I would know if I were going to have a movie in IMAX, I would shoot that at a 4.56 to get a heavier stock to create more sharpness at the focal point. Shooting wide open and focusing on something that’s sixty feet away, you can’t really tell you are shooting wide open unless you’ve got something right in front of the lens as a cutting piece. So I did come away going “Okay… if MAN FROM U.N.C.L.E. ends up being something that’s appropriate for IMAX and I’m shooting at a tableau, I’m not going to shoot it at a 1.3. So that was helpful. That was good to know. I was stunned at how good it looked, though. I mean that’s a testament to the MX sensor on the Red. It’s beautiful, like velvet. Just fantastic.

Beaks: I’ll have to see that. And since you brought up U.N.C.L.E., would you consider shooting some of your action sequences in IMAX?”

Soderbergh: Shooting in IMAX? No. No way. Those cameras are too fucking big, especially with the [RED] Epic now, which is a 5K capture. No, not at all. But I will definitely shoot my tableaus with that in mind. They are supposed to show me a test today too, because the format is a little taller than 2.40, and we are shooting that in anamorphic. I want to get a sense of… He’s going to show me some 2.40 films that they have made adjustments to to see if I feel like I’m cropping too much. If it’s not too much, I have to go in basically and sort of recompose shot by shot so I’m not losing information. But, boy, I really got sold on the format. Also, as Danny Fellman was saying, he goes, “Look, those are the best rooms in any complex. The IMAX screen is the best screen, and I want us to be on the best screens.” That’s why he thought of it, and I think he really is on to something.​
 
Can anyone help shed light on the equipment in the photo below? I zoomed on the two items of confusion. The first item (the DSLR-looking camera on sticks) -- did this serve as anything other than a prop? Same question with the ThinkPad. -- Thanks.

00contagpic.jpg
 
Love him and is positive thinking...
Inspirational.

Phillip Stefani said:
Yeah, tell me about it. I recently rewatched the RED documentary on the "Che" Criterion Collection edition. I'm still astounded by the leap of faith Soderbergh took in using those early stage REDs on the shoot.

Click to expand...
 
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