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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 :)

Stalingrad

Jarred Land said:
30 million USD in hollywood doesn't really count as a big blockbuster budget anymore... Not for a movie that looks this big.
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The world is getting smaller thanks to RED :)
 
Eryc Tramonn said:
Pretty cool, Frank. You piqued my interest.

While I like a good spectacle-driven, escapist tentpole extravaganza as much as the next person, I really like seeing what filmmakers are accomplishing without all the accoutrements of a multimillion dollar production budget, too. Even though most of the individuals here either know tons of crew, have access to boatloads of toys, or whatever...I'm wagering not many of us are able to make $5million films, let alone a $30 million dollar film. And if your surname is linked to generational wealth, how many can you do before it's a wrap for all that?

...

REDRAY + ODEMAX = End game.

Will we even need a DCP at that point? Or will .RED be a new flavor of DCP, so to speak?
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Thanks for your warm words Eryc. And mind that I did all that as a one man crew with a FS100 and a BMC.
Give me an Epic, a little crew and a few bucks and see what I can do :sifone:

And yeah, I also have high hopes on REDRAY + ODEMAX.
First of all it makes no sense to me to convert material, that is already in a pristine wavelet codec to an other wavelet codec for delivery.
And I also hope for easier distribution. Right now, it's actually easier to make a film than getting it out there.
If you are a little unknown filmmaker from Germany, without huge (ant the right) connections, your fu....ed in the moment, no mater waht your material looks like.
It's still much more, who you know, than what you can do. I really hope that changes with ODEMAX by cutting the guys in the middle, that still sit between you and your audience.
 
Frank Glencairn said:
Thanks for your warm words Eryc. And mind that I did all that as a one man crew with a FS100 and a BMC.
Give me an Epic, a little crew and a few bucks and see what I can do :sifone:

And yeah, I also have high hopes on REDRAY + ODEMAX.
First of all it makes no sense to me to convert material, that is already in a pristine wavelet codec to an other wavelet codec for delivery.
And I also hope for easier distribution. Right now, it's actually easier to make a film than getting it out there.
If you are a little unknown filmmaker from Germany, without huge (ant the right) connections, your fu....ed in the moment, no mater waht your material looks like.
It's still much more, who you know, than what you can do. I really hope that changes with ODEMAX by cutting the guys in the middle, that still sit between you and your audience.
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I think this can be applied to almost every european country. They say there is a crisis in the making of movies, but I constantly see and know about people working their asses off to get really, really, really low budget films with good aesthetics and stories, just to find that no one wants to distribute or even exhibit them.
 
I briefly worked on this film in russia with steve and a crew from the US. We had 3 rigs for our shoot. but what makes this film unique to just about any film is the cooperation with the local government. Fedor is best friends with Putin. I mean best friends. so when 400 extras are needed that are dressed in army uniforms, guess what, 400 extras show up in real uniforms, at a location that is owned by the government. moreover, fedor's dad directed WAR and Peace...see more info on that here..http://en.wikipedia.org/wiki/War_and_Peace_(film_series) just like that film, the big expenses that most every other film ever made would have to pay for out of the budget, were given to the project. we can't forget that this film is a feel good movie to make us feel good about Russia...who do you think would be interested in that? what is so great about this film is that it continues to demonstrate how great the epic is, this movie will be awesome in 4d 3d.

i have some BTS stills i will share with you all. These shots are from a test shoot for the movie shot outside of st petersburg in july of 2011. executive producer steve schklair from 3ality appears in several of the shots along with the director ( who looks a little like mr clean - he is sitting in the white t-shirt in the last shot) - the DP Maximo is the guy in the white hat and black shirt sitting on the dolly in the shots out by the "american lake" and then walking around the destruction set, pointing where the lights should go.

dino

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I was lucky enough to see some of this stellar 3D footage at RED Studios and was completely blown away by the beauty, grandeur and immersive cinematography.

We were told that this picture may never be released to the US market...I sure hope it is!
 
dino g said:
I mean best friends. so when 400 extras are needed that are dressed in army uniforms, guess what, 400 extras show up in real uniforms, at a location that is owned by the government.
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Not doing nitpicking, but that explains some of the misfits in German uniforms, props and weapons.
It jumped in my face when I saw the trailer the first time, but I'm also an historical consultant in that field, so it's my job to see it.
But 99% of the audience will never know.

What was your job on that film Dino?
 
Frank Glencairn said:
Not doing nitpicking, but that explains some of the misfits in German uniforms, props and weapons.
It jumped in my face when I saw the trailer the first time, but I'm also an historical consultant in that field, so it's my job to see it.
But 99% of the audience will never know.

What was your job on that film Dino?
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i worked as a workflow and dit consultant for the tests and first few days of shooting.
 
Matt Ryan said:
Dino - did they shoot Alexa as well? I see an Alexa setup next to the Epics.
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they tried to use the alexa's but did not have the right cables and other gack to make them sync properly...

they were a problem...this was july of 2011...and in russia where it was hard to get gear. i do recall them sending someone to germany to get something for the alexa, but it never worked.


I was not bummed when that happened.
 
dino g said:
they tried to use the alexa's but did not have the right cables and other gack to make them sync properly...

they were a problem...this was july of 2011...and in russia where it was hard to get gear. i do recall them sending someone to germany to get something for the alexa, but it never worked.


I was not bummed when that happened.
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If there was an ALEXAUSER.NET this would have been common knowledge. '-)
 
Mark K. said:
I wonder if they reused the sets from Enemy at the Gates? (assuming those weren't dismantled) It looks incredibly similar.
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Enemy at the Gates was filmed in Germany & Stalingrad shot in Russia.

As they're both based on the same historical events/location, I presume both sets of production designers had history on their side when recreating things :)
 
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