Steven Soderberh’s State Of Cinema Talk

[Humberto Rivera]

While looking for this web site; http://en.wikipedia.org/wiki/Movie_theater I hit on this one http://business.time.com/2012/03/19/man-sues-movie-theater-for-charging-too-much-for-fountain-sodas/ funny how things happen, well once I had the web site I began to read it, it turns out that “Theater Owners make 85% profit at the concession stand over the price of soda, candy, nachos, hot dogs, and of course popcorn!” Time

That with their half of Ticket Sales, more or less makes 100% of the entrance to a Film, and the one that got them there with their Worldwide Promotion and Advertisement was the Distributor, not mention the Film itself.

SINCE I ALREADY HAD THE MOVIE THEATER PAGE OPEN I THOUGHT I WOULD QUOTE THIS; “Movie studios/film distributors in the U.S. traditionally drive hard bargains entitling them to as much as 100% of the gross ticket revenue during the first weeks (and then the balance changes in 10% increments at an undetermined time).[27] Film exhibition has seen a rise in its development with video consolidation as well as DVD sales, which over the past two decades is the biggest earner in revenue. According to The Contemporary Hollywood Film Industry, Philip Drake states that box office takings currently account for less than a quarter of total revenues and have become increasingly "FRONT LOADED," earning the majority of receipts in the opening two weeks of exhibition, meaning that films need to make an almost instant impact in order to avoid being dropped from screens by exhibitors. ESSENTIALLY, IF THE FILM DOES NOT SUCCEED IN THE FIRST FEW WEEKS OF ITS INCEPTION, it will most likely fail in its attempt to gain a sustainable amount of revenue and thus being taken out from movie theaters. Furthermore, higher-budget films on the "OPENING WEEKEND," or the three days, FRIDAY TO SUNDAY, can signify how much revenue it will bring in, not only to America, but as well as overseas. IT MAY ALSO DETERMINE THE PRICE IN DISTRIBUTION WINDOWS THROUGH HOME VIDEO AND TELEVISION.” http://en.wikipedia.org/wiki/Movie_theater http://en.wikipedia.org/wiki/Movie_theater#Revenue

It kind of shows the difference between Movies in the World and the USA, it’s interesting!

Humberto Rivera

 

[Humberto Rivera]

Some reports really surprise me, take for instance what appeared in The Guardian this morning; http://www.theguardian.com/film/2013/aug/14/christian-bale-batman-man-of-steel-2 “Christian Bale 'could get $50m' to reprise Batman role in Man of Steel 2” The Guardian

Now if just one actor is getting $50 M and there is the rest of the Cast, Director, Producers, Screen Writers, and whoever to go! Can you imagine what they would have to make, including the cost of Promotions and Advertising? Just saying!

Humberto Rivera

 

[Humberto Rivera]

Now here is a story that ended well for the Hollywood Studio’s; http://www.deadline.com/2013/08/mpaa-settles-china-box-office-pay-dispute-report/#more-563592 “UPDATE: MPAA Confirms Studio Win In China Box Office Pay Dispute” By THE DEADLINE TEAM | Tuesday August 13, 2013 @ 6:15pm PDT Tags: Box Office, China, China Film Group, MPAA

To quote; “UPDATE: MPAA Chairman Chris Dodd declared Tuesday evening that Hollywood’s revenue beef with the Chinese government has been settled in favor of the studios: “The MPAA understands that the China Film Group stopped payments owed to MPAA studios in China pending resolution of the application of a new value-added tax (VAT) due to be implemented nationwide as of August 1. We are pleased to hear that the Chinese government has addressed the matter and all money due will be paid in full. It is our understanding that the payment process has recommenced. The U.S. and Chinese film industries enjoy a close and productive relationship and the MPAA is grateful to our counterpart, the State Administration of Press, Publication, Radio, Film and Television (SAPPRFT) for their commitment in resolving this matter favorably. We look forward to further strengthening our ties with SAPPRFT as the Chinese screen community continues its path to becoming a global powerhouse in the international entertainment market.” Deadline.com

Humberto Rivera

 

[Humberto Rivera]

Just read this on The Hollywood Reporter; http://www.hollywoodreporter.com/news/mpaa-chief-christopher-dodd-announces-605084 “MPAA Chief Christopher Dodd Announces End to China Standoff”

To quote; “The China Film Group had withheld payment because of a new 2 percent tax it wanted studios to cover. Film companies haven't been paid since October or November and are collectively owed north of $150 million, if not closer to $200 million. As it is, Hollywood only receives 25 percent of box office receipts (before a landmark trade agreement was reached in 2012, studios only received 13 percent to 17 percent.” The Hollywood Reporter

Well I guess the debate has ended for now!

Humberto Rivera

 

[Humberto Rivera]

I was reading the article at; http://www.popphoto.com/how-to/2013...r-frank-w-ockenfels-iii-shooting-breaking-bad Interview: “Photographer Frank W. Ockenfels III On Shooting Breaking Bad” A high-profile TV, movie, and music shooter walks us through his fascinating process - By Stan Horaczek on August 12, 2013 The article is a good read, there are eight pages.

I thought with the new Epic 6K Dragon Camera, it’s possible that an on-set Photographer/Cameraman/Director with his own TWO Epic 6K Dragon Cameras, running at whatever speed might be better than a once-in-a-while photographer for stills, with the two Epic 6K Dragon camera he can capture the BTS Action, still photos, and the occasional video interview (that would probably be a crew of five people). They could use whatever lenses the Production crew were not using, and there would be universal equipment and attachments available for all.

It is funny how reading something you can get a different idea! This would not be just another by-the-way job, it would actually called for someone who can think on his feet, go with the flow, and make it happen as the Production moves along, he would be with the Production from the very beginning all the way to Post Production, and might actually accompany the Film once completed through the Promotion Phase.

Why is this so important? Well there will be many calls for photos afterwards, you might not want to give everyone the same photos either, when cutting the Promotional Interviews with Real Journalist in different parts of the World, you might want to give them some “B” roll so you don’t have a taking head continually on the screen (TV or Whatever), there would lots of Magazine Articles, and it would be a good promotion tool for the Picture! You can never go back in time, that’s a fact, you either have it, or you don’t, you cannot have the Actor in Character, there is different feel too on-location!

I don’t think I’m saying anything new, but this would be an Independent Team (like a second unit, but different), of five that can also be at the call of the Producer, Director, Promotion Person, and even the Advertiser who might visit the set from time to time, they can pull the Independent Production Crew members to the side and not interfere with the Production of the Motion Picture, I would dedicate TWO Epic 6k Dragon Camera to this crew. What makes this all possible is the Epic 6K Dragon Camera, which resembles 65 mm Film! Just saying!

YOU HEAR FRANK OCKENFELS III SAY; “Question -So, you’re shooting most of this stuff on medium format digital backs, right?” Frank Ockenfels III “Nine times out of ten, because of the size of billboards and everything, we shoot a lot on the Hasselblad and the Phase One backs. We had to step back a little on the Phase One backs because the higher resolution ones are so high-resolution that they almost have to retouch the sharpness out of them. I couldn’t tell you which one we’re using, BUT WE’RE NOT USING THE HIGHEST-END ONES because people complained that they were too clear. Film was never this sharp. It’s sharper than real life. You shouldn’t be able to read a hair inside the tear duct of someone’s eye. On one of those high-end backs, though, you can almost read what someone is thinking. It’s kind of terrifying.” Frank Page 6

Humberto Rivera

His Portfolio; http://fwo3.com/photography/tv-ad/

 

[Humberto Rivera]

I was reading deadline.com this morning and came across this; http://www.deadline.com/2013/08/net...erience-with-new-multi-year-pact/#more-567620 “Netflix, Weinstein Co To ‘Reinvent’ Pay-TV Experience With New Multi-Year Pact” By THE DEADLINE TEAM - Tuesday August 20, 2013 @ 6:36am PDT

HERE IS BASICALLY THE ARTICLE; “Beverly Hills, Calif. – August 20, 2013 – Netflix Inc. and The Weinstein Company today announced a new multi-year licensing agreement that will make Netflix the exclusive U.S. subscription television service for first-run films from TWC beginning in 2016.

Starting with its 2016 theatrically released feature films, new TWC and Dimension Films titles will be made available for Netflix members to watch instantly IN THE PAY TV WINDOW on multiple platforms, including televisions, tablets, mobile phones and computers.

NETFLIX IS ALREADY THE PAY TV HOME to TWC documentaries and foreign films, including the Academy Award winning Best Picture, The Artist, and Best Documentary Feature, Undefeated, as well as to a wide-range of movies released by multi-platform distribution label RADiUS-TWC. “Harvey and Bob Weinstein are in a class to themselves when it comes to choosing and producing the best films in the world,” said Ted Sarandos, Chief Content Officer for Netflix. “They are as innovative in business as they are creative in their storytelling. We look forward to reinventing the pay TV window with the Weinsteins.”

“The deal that we’ve just completed with Netflix is probably the biggest deal in the history of The Weinstein Company and together, we are discussing ways to reinvent the pay TV experience so that the audience can get even more for their money,” said Harvey Weinstein. “Their enthusiasm for movies of all kinds was the big factor in our choosing Netflix. Moving forward when people see The Weinstein Company name on a movie they know that our pay TV partner is the most significant new force in the entertainment industry – Netflix.” Deadline.com

NOW I TOOK A SPECIAL LOOK AT THE PLACE WHERE IT SAID; “Their enthusiasm for movies of all kinds was the big factor in our choosing Netflix. Moving forward when people see THE WEINSTEIN COMPANY NAME ON A MOVIE THEY KNOW THAT OUR PAY TV PARTNER IS THE MOST SIGNIFICANT NEW FORCE IN THE ENTERTAINMENT INDUSTRY – Netflix.”

But they are not the only ones, the reason is ODEMAX can actually BE A BIGGER FORCE, but not the only-one in Film Distribution, and I say it that way because I include the Independent Filmmaker, as well as the Hollywood Studios in this mix! For example, we get Netflix in Costa Rica, the video distribution people have burled the line in television distribution as they move across borders with their giant dishes that can by-pass local laws or whatever, ITS JUST A MATTER OF HOW YOU COLLECT THE PAY-PER VIEW, that can be worked out, the world is shrinking and the Internet is evolving! Just a thought!

Humberto Rivera

 

[Humberto Rivera]

I was reading deadline.com this morning and came across this; http://www.deadline.com/2013/08/inv...arter-can-raise-finishing-funds-for-reach-me/ “Investor Leaves Them $250,000 Short; John Herzfeld And Sly Stallone Hope Kickstarter Can Raise Finishing Funds For ‘Reach Me’” By MIKE FLEMING JR - Wednesday August 21, 2013 @ 5:45pm PDT

Kickstarter has come a long way, and has a “Long Road Ahead”, it’s becoming a way to appeal directly to the public that wants to participate in a “Motion Picture Production” or any other endeavor, it’s slowly democratizing the FINANCIAL WORLD from the people that want to control everything. We have not seen the “Real End” yet; it continues to evolve into something stronger, and stronger and no-one really knows where that will be, the end is a mystery.

Humberto Rivera

 

[Humberto Rivera]

Today it was refreshing to read that Kevin Spacey gave the James MacTaggard Memorial Lecture in Edinburgh, Scotland, you’ll find it here; “Kevin Spacey Laments Lack Of Ballsy TV Execs In Wide-Ranging MacTaggart Lecture” By NANCY TARTAGLIONE, International Editor - Thursday, 22 August 2013 20:17 UK http://www.deadline.com/2013/08/kev...-wide-ranging-mactaggart-lecture/#more-569677 HIS FULL SPEECH CAN BE FOUND HERE IN A PDF FILE HERE; http://www-deadline-com.vimg.net/wp...L-LECTURE-2013-KEVIN-SPACEY__130822175934.pdf

It’s interesting because he urges the Television Networks to “give the public what they want, when they want it” he said; “We know what works and the only thing we don’t know is why it’s so difficult to find executives with the fortitude, the wisdom and the balls to do it,”. I think it worth reading!

Humberto Rivera

 

[Humberto Rivera]

I was re-reading the http://www.PopPhoto.com article AGAIN this morning because there are so many ideas THAT CAN BE IMPROVED in the Production of a Motion Picture and its Promotion and Advertisement Campaigns beyond what the article itself says, and to take-it to the next step beyond, for me it was the catalyst to think about something a lot different, on a higher plateau; http://www.popphoto.com/how-to/2013...r-frank-w-ockenfels-iii-shooting-breaking-bad “Interview: Photographer Frank W. Ockenfels III On Shooting Breaking Bad” A high-profile TV, movie, and music shooter walks us through his fascinating process - By Stan Horaczek on August 12, 2013

In reference to my past Post Number (#225) on 08-18-2013, at 07:21 AM above, I just wanted to expand on the paragraph where I said; “I don’t think I’m saying anything new, but this would be an Independent Team (like a Second Unit, but different), of “Six People” that can also be at the call of the Producer, Director, Promotion Person, and the Advertiser who might visit the set from time to time, they can pull the “Independent Production Crew” members to the side and not interfere with the “Production of the Motion Picture”, I would dedicate TWO Epic 6k Dragon Camera to this crew. What makes this all possible is the Epic 6K Dragon Camera, which is equivalent to 65 mm Movie Film!” Humberto Rivera

I was thinking, what I’m doing is elevating the ancillary crew from an occasional visit of a “Still Photographer” and/or the “Video Cameramen” (with regular video equipment) to a “Six Man Team” that are actually shooting with the same “Epic 6K Dragon Sensor Cameras” and lenses as the ACTUAL Movie Production that is being “Filmed Concurrently”. If I can take it a step further (only speaking hypothetically because it all depends on the Production Budget of the Movie), the Production itself can be an S3D Production, with cranes, helicopters, dollies, Steadicam, Epic 6K Dragon Cameras in other words the “Whole Works”.

The article had that traditional historical progressions; How did you get started? How we arrived on the set for the first shoot? They were happy with my work, so I got another Job? THEN I GOT TO THINKING with the Epic 6K Dragon Camera, “Digital Cinema” has met the “Still Photo Shoot”, maybe not at the same level for the “Hi-End-Still-Photos”, but certainly for the “Digital Cinema” has come as CLOSE AS POSSIBLE to the 65 mm “Movie Film Frame”. So here we stand, across an imaginary line of ‘Quality vs. Productivity” (but a very thin line, hardly any daylight between the two).

It has been said by Jim Jannard that there is SOME SECRET SAUCE in the R3D File that make-it possible to play with the “Dragon Image” while in its R3D phase beyond what ones see, they DON’T KNOW HOW OR WHY but they have seen some evidence of-it. But “Digital Cinema” and “Hi-End-Photography” are still on their respective side of the road THAT I DON’T DOUBT.

But then “Frank W. Ockenfels III” said that “Hi-End-Cameras” made things look “Too-Real”, they had to tone down the image, and I thought this might be a good place for the “Epic 6K Dragon Camera”! Why? Well because the “Production of a Motion Picture”, along with the “Second Unit” and an additional crew of “The Promotional Team” would make a very nice marriage. They would each have their own Missions, but they would be different!

“The Promotional Team” would have its Director, and Line Producer, but apart from the Production, this is (not called a “Second Unit” that’s “Another Crew” job) that’s “The Promotional Team” that follows along with the production, Before, During, and After the Film is shot! “The Promotional Team” crew members would include a Director, a Line Producer, two Cameramen / Camerawoman, a Sound Person, and a Lighting Person, it can borrow personnel on special occasions from the regular crew, after all they would be in the same union, so TECHNICALLY you can consider them part of the “Production Crew”, actually they are “The Promotional Team”! They would use the same DTI, transportation, meals, or anything else you would with the regular crew, their images and cameras would belong to the “Movie Production”, they would essentially be on a “for hire contract”, just like everyone else!

The PRODUCTS from “This Promotional Team” are varied; Still Photos on-location, Actors-in-Character, Interview with Various Crew Members and Cast, such as the Producers, the Director, Special Effects, Production Designer, Music Composer, the Actors-in-&-out-Character, and whoever else comes to mind, following us from the beginning of the Pre-Production Phase ‘to-and-from’ Film Festivals always having things for the Press ready-at-hand, AN TOO HAND OUT.

There many PRODUCTS, First the obvious the “Film Trailers” for the various “Worldwide Markets”, the “Images Gallery”, the “Press Book”, the “Movie Posters” (in different languages), but beyond that other PRODUCTS can be created from these materials, some for Publicity others for the “Marketing Department”, and things I haven’t thought off, but we would have the all important “footage in-the-can” for whatever we may invent! Many of the shoots can be used ALONG-WITH the “Movie Production Crews VFX” for the “Digital Video Game” that should be well thought-out during the “Script Writing Phase”! And there is always the possibility of the Production of a “Feature Length Documentary” on the “Making-Off”!

Like I said before, there is nothing new here but I think I just crystallized the idea a little better for myself! So when the “Movie Film” is released we have thought of all the things needed to be done in advance, and by whom, and even those we haven’t thought off, at least we have it “in-the-can”!

Humberto Rivera

 

[Humberto Rivera]

I was looking at The Hollywood Reporter this morning and came across this article; http://www.hollywoodreporter.com/news/armand-assante-talks-playing-south-613909 “ARMAND ASSANTE TALKS ABOUT PLAYING SOUTH AMERICAN SHAMAN, FINANCING INDIE FILM (Q&A)” - 9:23 AM PDT 8/24/2013 by Nick Holdsworth! I FOUND IT INTERSTING THAT HE HAD THIS TO SAY; “The New York-born actor known for his gangster roles explains a challenge of working in the recessionary climate: "I'VE NEVER SEEN A TIME WHEN THE FINANCIAL END OF FILM WAS SO FRAGILE."

Answering a question from the Hollywood Reporter; THR: You describe yourself as a "journeyman". How tough is the independent film world today -- even for an actor with your long experience in both Hollywood and European films? ASSANTE: I've never seen a time when the financial end of film was so fragile. Projects come and go on the capacity of whether people have the FINANCIAL ABILITY, even for the lowest budget projects. It shows what has happened since 2008.

I guess the current a state of the financial situations is affecting everyone!

Humberto Rivera

 

[António Fagundes]

Why don't you start your own blog?

 

[Humberto Rivera]

Thanks Antonio, but I just been doing it for the “hell-of-it”, and I just write whatever comes to mind, I have thought about it but then said; Nah,!

Humberto Rivera

 

[Humberto Rivera]

The Film Production Budget! Who? Why? Determines the Budget of a Film? Which will influence how the film looks forever, and ever once it’s “in-the-can” (some of it is a waste)! Well I think the answer is obvious, MONEY! But why do some Films get more MONEY than others? It’s an Interesting question?

I think that proper place to start is at the “Above the Line Part of a Budget” for a major “Motion Picture Production”; the Producer, the Director, the Actors, the Screen Writer, the holders to a Movie Right or a Story Concept, the Composer! These are the variable and other cost than run according to “Negotiating Powers” base on reputations, “Past Performance”, and “Box Office Appeal”, not to mention their own production companies! It’s an interesting mix before a SINGLE FRAME OF FOOTAGE IS EVER SHOT; we spend a lot of “dough” positioning ourselves! I guess this is what is called the DEVELOPMENT COST, but wait, there might actually be such a “Line Item of a Budget”, and don’t forget the insurance on the “Above the Line Budget People”, and their assistances, hair dressers, nutritionist, personal trainers, and even the “Production Storyboards”, and so on, and on. Each line cost, represents a person, who eats, travels and cost money, just look at some of THE-END-CREDITS on a film, they go-on forever, and ever!

Never forget the cost of the MONEY on the MONEY! Or the “Completion Bond”, or the “Insurance”! Once you get that part strait you have to go out and sell-it to someone, or some entity, a Studio, an Independent Company, some wealthy person (but not too often for this one), maybe you were going to use your-own monies (highly-unlikely), or use Kickstarter, or whatever it might-be, be inventive, but remember we have NOT SHOT ANYTHING YET!

Product is always needed and demanded is high to keep the Worldwide Theatrical Audience Entertained, places like Netflix (others of the same ilk, like Apple-TV, Vimeo, YouTube and so-on), a DVD industry fed with Product, Television Channels filled, it needs to be “churn-out” and there are plenty of ways to go, FORTUNE does not grace everyone EQUALLY, the same Movies from the same places seem to get the Lion’s Share of the Pie! While what is left-over has to be divided amongst far too-many PRODUCTIONS with lots of PEOPLE that may or may not get their money back! What a situation? Yet we go-on, remember; “Anything you say in the “Movie Business” is “True”, no matter how outrageous it may be” if there ever was a true statement for RAISING MONEY, this is-it!

OK, “The Budged”! Let’s take a look back at the Wikipedia file that gave a SLIGHT INSIGHT-LOOK INTO a real Hollywood Budget; http://en.wikipedia.org/wiki/Film_budgeting Film Budgeting “Wikipedia”, there we’re lucky enough to have a peak at the “Top Page” of four Hollywood Films, look how front loaded those four films are; “Unbreakable”, “Lara Croft Tomb Raider: The Cradle of Life”, “Terminator 3: Rise of the Machines”, and “Spider-Man 2”!

I think that the numbers speak for themselves on those four Films; but what to-do about-it? Well you can start with a small Production fee up front for the principals, and profit participation on the back-end. Remember “Flight” the 2012 Movie Directed by Robert Zemeckis, Cinematography by Don Burgess, and starting Denzel Washington; http://en.wikipedia.org/wiki/Flight_(2012_film) it was completed for $30 Million Dollars, shot with the Red Epic M-X Camera! Well that’s one idea that worked; everybody was happy AND THE FILM GOT MADE! Any of the four films mentioned above exceeded the $30 Million mark by a long shot, just with the “above the line cost”, before any ‘frame of film” was shot. Just saying, but it does take a combination of smart Producing, Directing, and help from the Actors, that is completely-essential!

Now how about a movie like “The Lone Ranger” a 2013 Picture that bomb at the Box Office; http://en.wikipedia.org/wiki/The_Lone_Ranger_(2013_film) it had an estimated budget of $213 Million Dollars, WOW! According to the number of Box Office Mojo; http://boxofficemojo.com/movies/?id=loneranger.htm It took in $87,801,908 (40.3%) domestically, Foreign $130,100,000 (59.7%) for a Worldwide number of $217,901,908! $213 Million according to Wikipedia, or $218 Million according to Box Office Mojo, close enough for a real looser! In that movie NO ONE was happy except for Jerry Bruckheimer (Producer), Johnny Depp (Actor), and Gore Verbinski (Director), I’m sure they all got their fees in advance, but Disney, that’s another story, can’t even make a “Ride out of it”, or a “Video Game”!. You have to make “Two and Half” times the Box Office Gross Receipts, for it to break even, that would be in excess of $500 + Million and if you include the Promotional and Advertising cost (which you must), a recipe for a real looser.

QUOTE FROM WIKIPEDIA; “After underperforming during its opening weekend, the film was characterized by numerous media sources as a box office flop with many observers comparing it unfavorably to John Carter, a big-budgeted Disney film that failed commercially the year before. THE NEW YORK TIMES ESTIMATED THAT THE FILM COST $375 MILLION TO PRODUCE AND MARKET, and would need to earn an ESTIMATED $800 MILLION WORLDWIDE TO BREAK EVEN, after accounting for revenue splits with theater owners. The Hollywood Reporter noted that the losses from the film could SURPASS $150 million, with Walt Disney Studios Motion Pictures vice-president Dave Hollis calling these results "very disappointing” Wikipedia

I was just thinking about Sylvester Stallone and his partners using Kickstarter to help finance the back end of their Production, that’s a gift from YOU the public, along with everything that they said here is a glimpse; “Herzfeld says HE PUT EVERYTHING HE HAD INTO THE FILM and that he and his producers Elwes and Rebekah Chaney WENT THROUGH HELL TO GET THIS FAR. Stallone himself does most of the talking in the Kickstarter pitch along with Herzfeld.” CONTINUING WITH KICKSTARTER ARTICLE; “Much like Spike sweetened the Kickstarter tchotchkes pot by promising top donors dinner and a courtside seat alongside him for a Knicks game, Herzfeld and cohorts have come up with some interesting incentives. They include Herzfeld offering to give script coverage to bidders of $1500; a sparring session with former MMA champ Urijah Faber for $2000; and having a song included in the film for $10,000. Herzfeld and cohorts have until September 19 to raise the dough.” http://www.deadline.com/2013/08/inv...arter-can-raise-finishing-funds-for-reach-me/

With the advent of Kickstarter that tool may NO LONGER BE AVAILABLE to the Distributer (of every stripe, small & big) films or Filmmakers that got in trouble towards the end (and many did & do), went to them and signed-off their “most of the important right to the Picture” for the few pennies on the dollar (comparatively speaking). The Distributor got a film that would have cost them 2,000% more for just a pittance! All because Kickstarter, a new tool, it’s a gift from the Public to the Artist, I personally feel it’s a “Good Thing”!

Looking a little deeper in to Armand Assante (from post #230 of this thread), he was born in 1949 in New York City, he is 63 years old, and is worth around $10 Million according to; http://www.therichest.com/celebnetworth/celeb/armand-assante-net-worth but he’s off to Argentina CO-PRODUCING a small Independent Film that he is doing along with Argentinean Director Diego Rafecas', called First Law (Ley Primera); http://www.hollywoodreporter.com/news/armand-assante-talks-playing-south-613909 and of course playing the part of the a “South American Indian Shaman”, it’s hard to keep them away from the crowed, that’s a Good Thing! FUNNY THING, Armand Assante, does not appear in any way in Box Office Mojo’s web-page, including in some of the Motion Pictures he appeared to be in, it’s a MYSTERY! Films like “The Mambo Kings” “American Gangster” “Private Benjamin”, something is wrong, somewhere?

So what to-do? That’s the $64,000,000.00 Question? Is there going to be an implosion of the Movie Business like Steven Spielberg and George Lucas agreed on? It’s kind of hard to say, but what is an absolute truth-is; they need Product for a Hungry Worldwide Entertainment Audience! The show must go-on! The original question was WHO DECIDES WHAT A BUDGET IS GOING TO BE! I think the answered is EVERYONE, from the Studios, Wall Street, YOU, the Wealthy Individuals, Filmmaker, Actors, Producers, to anybody with a Kickstarter Account now in progress! See you at the Movies, in whatever Country in the World you happen to be-in! It’s a Global Business!

Humberto Rivera

 

[Humberto Rivera]

What does the New Epic 6K Dragon Camera signifies for the “Motion Picture Industry” and what does it mean when it takes ANOTHER GIANT STEP AHEAD of Sony and Arri. Red continues to put distance between 35 mm Film, the F65, and whatever surprise Arri might have installed. I don’t think they are going to continue with the Alexa, they would have to be crazy to-do-so, so there is a surprise in there somewhere!

The coming Red Epic 6K Dragon camera has 16 or 17 T-stops (or more we don’t know) of Dynamic Range; it has an Image Circle of 34.5 Ø mm with an 2:1 Aspect Ratio with just a little headroom to spare; the sensor itself the “6K Dragon Sensor” is; 30.7mm (Horizontal) x 15.8 mm (Vertical) or 34.5 Ø mm. It’s a full 16 bit depth on the sensor with no BS! It has a new ASIC Chip, but is still an UP-GRADE, what a Company is the “Red Digital Cinema Company”! The power of Red R3D REDCODE, that’s Red edged, for whatever people say about it, the largest supporters or the largest detractors, is something they cannot use, R3D Files belong to Red!

http://en.wikipedia.org/wiki/REDCODE From Wikipedia; “REDCODE RAW (R3D) is a PROPRIETARY MULTIMEDIA AUDIO/VIDEO file format owned by the Red Digital Cinema Camera Company and featuring lossy compression for video contents and lossless for audio contents. It is used as native recording format of RED DIGITAL CAMERAS and recorded on proprietary HARD DISK DRIVES, CompactFlash cards or SSD drives, but can be extracted from there and be trivially handled in any file-based audio/video, IT or home environments.” Wikipedia

I would say the Epic 6K Dragon Sensor works better (for me) at 6000 (Horizontal) X 3000 (Vertical) is 29.98 (Horizontal) x 14.99 (Vertical) or 33.52 Ø (Image Circle) it’s 18,000,000 (18 Megapixels) -20% 14,400,000 (14.4 Megapixels); the overall image from what little I have seen from Mark Toia, and Tom Lowe look’s fantastic, and they’re still working on the final steps (turning knobs as Red say), they are BETA IMAGES, the FINAL ONES AT NOT OUT YET! It lets me use all of the Zeiss 16 Mater Primes, T 1.3 Aperture, 12 mm to 150 mm, one day Red Might apply the LDS System to it, we can only hope!

There are also other people shooting but their images have not been released, they eventually will be! They are still TWEAKING THE CAMERA! Then the question persist if the image of the “6K Dragon Sensor” is more like that of a “65 mm Film Frame”, then the other “Digital Camera Manufacturers” have a big QUESTIONS MARK (???) painted over their Brand, what’s going to happen at “IBC 2013” this year, or we’ll need to wait or maybe for “NAB 2014” if they can’t get it together in time! They got the Brand, but not the goods! There is a new Gunslinger in town.

There something that bothers me a Bit, is this question of a “Fanboy” its’ a “kind-of-silly” label to have to wear, the camera speaks for-itself! Resolution is important, it has been an up-hill battle, we’re now at the point that the industry is going in that direction at an exponential pace, and in a few years we will see more 4K of everything. We’re slowly witnessing the change over at companies like, Apple 4K monitors, 4K television sets are creeping into the market, 4K cameras are coming into their own (for everyone else), the foreseeable future will be 4K, “that you can take to the bank”. So it’s time to take the “Fanboy” label down, and FLY ANOTHER FLAG, whatever it might be! That’s just my opinion!

I know that there are lots of money invested in other methods of creating images, that Producer just want something for the now, and not for tomorrow, they are for the most-part people who follow the crowed and want to keep their jobs, so you can’t really blame them, and of course you have Sony and Arri edging them along, BUT THOSE DAYS ARE OVER. Dynamic Range has its own way of “Micro-Interpreting-it”, but all that’s gone with the Epic 6K Dragon Camera, now it’s absolutely clear, no more room for interpenetration, the facts are on the table! Change must occur sometime, IT HAS JUST HAPPENED with the “Epic 6K Dragon Camera”, and some people are having real trouble wrapping their heads around that, with that! I’ll say it again, THIS IS JUST MY OPINION!

Humberto Rivera

 

[Humberto Rivera]

I think among other things, the “Red Digital Camera Company” has some “Boogey Man” to fight, one of them is the “Mainstream Hollywood Press”, Red began with advertisements they took out in such Magazines as the “American Cinematographer” (kind of technical), but the “Hollywood Mainstream Press” is another thing; Digital & Print! They have slowly being coming around, but they have a long ways to go, they are not there just yet!

It’s a tough business being recognized by the overall Industry in General, because of the Advertisement they get from companies such as Arri, Sony, and Canon; they consistently advertise on their pages, and Producers are not all on-board either! When Arri or Sony or Canon Announce anything, they get right up-there on the cover, but Red, nothing, or just the casual coverage that you would give a PR Release from a small company, way in the back pages, I’m not saying that is everyone, BUT PLEASE SHOW SOME RESPECT!

Now let’s get this straight; I’m not saying that Arri, Sony, and Canon should not get all the press they can, they earned it, they have a large sales force, they have a large PR machine, they Advertise everywhere; but while they were giving PRESS CONFERENCES, they were overtaken by the “Red Digital Cinema Company”, AND LEFT IN THE DUST, way-behind! I guess the “Hollywood Mainstream Press” has not TAKEN NOTICE OF THAT, they eventually will! When they review a Movie like “The Hobbit” they get a line or two, in there, now in the more technical magazines they do much better; but in the general press they just don’t make-it, not like they should with the GIANT CONTRIBUTION they’ve made to the MOTION PICTURE INDUSTRY.

Many filmmakers of various stripes have shot some very fine films with the various variations of the Red Cameras as it evolved, look at film like “Get The Gringo” that was shot with a “Red One” and “Anamorphic Lenses”, in an abandoned Mexican jail, by Mel Gibson, now that’s a combination! Then they took a chance on Distribution, over VOD, that’s evolving! http://en.wikipedia.org/wiki/Get_the_Gringo The Film was Produced, Written, and Starting Mel Gibson, and Distributed by 20Th Century Fox Home Entertainment in the USA, very low budget Picture!

Way back on 11-08-2012, at 12:00 PM I published a list of most of the Films shot up to that date; there were 73 films (they were not all on the list) at that time, since then the list has increased ON ANY KIND OF RED CAMERA; http://www.reduser.net/forum/showthread.php?87365-Some-Thoughts/page2

QUOTE FROM WIKIPEDIA; “The script was written by Mel Gibson. The film is directed by ADRIAN GRUNBERG, who worked as a first assistant director with Gibson on APOCALYPTO. The film was produced by Gibson, Bruce Davey and Stacy Perskie. Executive Producers included Mark Gooder, Vicki Christianson, Ann Ruark, Len Blavatnik. FILMING BEGAN IN MARCH 2010 IN SAN DIEGO, BROWNSVILLE, TEXAS, AND VERACRUZ, MEXICO. Most of the filming took place at the IGNACIO ALLENDE PRISON. BENOÎT DEBIE was the cinematographer on the film. The film's theatrical release began in Israel in March 2012 before reaching 22 other countries over the next six months. In the UK, the film was released under its original title of "HOW I SPENT MY SUMMER VACATION." As of the July, the film had taken in $4.5 million at the box office. The film's US premiere coincided with a ten-city, same-day tour with Mel Gibson appearing at “Austin's Alamo Drafthouse Cinema” with co-star Kevin Hernandez and director ADRIAN GRUNBERG on April 18, 2012. The other nine cities screened the film and received a satellite feed of the Q&A. THE FILM DID NOT HAVE A REGULAR US THEATRICAL RELEASE INSTEAD APPEARING ON VIDEO ON DEMAND (VOD). At the event, Gibson said of the VOD release, "WE'RE JUST IN A DIFFERENT ERA. MANY PEOPLE JUST LIKE TO SEE THINGS IN THEIR HOMES....I THINK IT'S THE FUTURE." THE FILM WAS FIRST PUBLICLY RELEASED EXCLUSIVELY THROUGH VIDEO-ON-DEMAND SERVICES IN THE UNITED STATES. In Icon’s deal with Fox, GET THE GRINGO did have an exclusive preview window on DirecTV May 1 before it was released on other VOD services a month later. Its release date on Blu-ray Disc was set as July 17, 2012, by 20th Century Fox Home Entertainment in the US.” Wikipedia

It’s tough for a New Company to break in a short period of time (relatively speaking), just like a Filmmaker, or an Actor into the Hollywood “A” list! I think they both run along similar line, just like any other thing in Hollywood however there are exceptions, like all the Films that have been made with Red Camera. But as an institution, there is a lot of caution among Producers, Directors, and Cinematographers that are mirrored by the “Mainstream Hollywood Press”! I thing they see themselves as the “King Makers” in the Hollywood establishment, but that’s-not-so, results count a lot when it comes to a Camera Manufacturers , one camera against the World, the “Epic 6K Dragon Camera” with its R3D REDCODE Files, will be that camera, that finally breaks the bond with 35 mm Film!

Maybe Steven Spielberg would do a film with the “Red Epic 6K Dragon” and thing will change, that’s the Hollywood way, Peter Jackson already took the plunge from the very-beginning and what is James Cameron doing with all those Red camera he bought, which I’m sure to become a 6K Dragon soon, he has a lot of S3D “Avatars” cooking, they are on their way. If he wants to go 2.40:1 or expand to a 1.9:1 Special IMAX Image without sacrificing the 2.40:1 Film Image, HE-CAN-DO-IT. Look back at my post on; http://www.reduser.net/forum/showth...1-DCI-Container-with-1-9-1-Extension-for-IMAX

There are many “Big Time Filmmakers” that are sold on the Red Camera, so there is only one way to go, forward. But somehow Red has persisted where it counts, ON THEIR PRODUCTS, they stay up at night thinking how to improve on their products, often with the help of people working on Real Productions, they cannot be stopped, and they will eventually arrive at the “Hollywood Mainstream Press”, they can only be IGNORED FOR-SO-LONG! Meanwhile they reduce their prices, and are bring out the “Epic 6K Dragon Camera” just in time for “IBC 2013”.

Humberto Rivera

 

[Humberto Rivera]

I sat at my computer looking at Peter Lyons Collister, ASC test footage taken with the “Epic 6K Dragon Digital Cinema Camera”; http://www.reduser.net/forum/showthread.php?104522-Collister-Dragon-Test-for-ASC I looked at the footage on my “crappie computer monitor” several times, just looking at it again, and again, it does have that look that you CAN ONLY GET ON FILM, the kind you have to process and wait OVER NIGHT for, then to look at a print the following day or video transfer also the following day THAT KIND, if you rush things along, that’s why they called them RUSHES. Can you imagine what it would be if you like shooting with four cameras, can you imagine four “35 mm Film Cameras” vs. the “Epic 6K Dragon Digital Cinema Camera”, what a difference? Can you imagine in cost, in moving gear around, in waiting overnight for results, in storage of equipment, manhandling, and if was 3D, then what, the difference goes beyond measurements? At the end of the day, WE’RE AFTER THE IMAGE, nothing else!

Looking at the different T-Stops Peter had to shoot, into the sun, and late at night in an amusement park, a bare light bulb staring-up, those gorgeous flowers, and the reflection of the elderly gentleman on the window. The Dynamic Range was better than Film, yes it was, I can only wonder how the full blown file must look, and a 4K monitor even better, I did say 4K not 6K (they don’t exists, I’m not aware of any) it got-to-be OUTSTANDING, just like Film. Just like Film, Oh I said that before, I just wanted to make the point.

Film can now take a back seat to the “Epic 6K Dragon Digital Cinema Camera”! How is that possible? I don’t know, and I don’t really care, what I do care about is that a giant, and very “Expressive 35 mm Panavision Camera” (people only rent them), or whatever brand of camera you use, has been replaced by a camera the size of Hasselblad, and uses Magazines (metaphorically speaking) the size of Hershey Bar, and record far Longer than any Film Magazine out there! I guess that’s what I’m saying!

The Lenses use were not Master Primes, or Leica Summilux C, or Angenieux, they were Nikon and Canon (nothing against those lenses, they’re a fine quality glass). Can you imagine what a consistence look they would have from lens to lens with a set of Master Primes, from 12 mm to 150 mm, all LDS if Red ever goes forward with its project, all matched; it can only improve from there. This is a BETA TEST you have to remind yourself that from time to time! Once we actually get a release “Epic 6K Dragon Digital Cinema Camera” and the Digital Footage are all properly graded, I think the quality can only go up! What I’m I saying; of course it will!

Thanks Peter, nice avatar!

Humberto Rivera

 

[Humberto Rivera]

I found it interesting that China considered “The Great Gatsby” an Australian Film for Distribution purposes in China (in 3D), I wonder who they made the payments (or will) too; http://www.hollywoodreporter.com/news/baz-luhrmann-considering-china-movie-616881

TO QUOTE FROM THE STORY; “China, the world's second largest film market, HAS A QUOTA OF 34 FOREIGN MOVIES EVERY YEAR ON A REVENUE-SHARING BASIS. Given China's love of 3D remakes of movies -- JURASSIC PARK is currently riding high in China in a 3D version -- Luhrmann said he thought that MOULIN ROUGE would work really well in 3D. He dropped some other strong hints that Fox would consider backing him to convert it to 3D.” The Hollywood Reporter

So if your Film is NOT a US Backed, Produced, Shot, and possibly Story, it stands a good chance that is not within those Films allocated to US Production (Hollywood). They really prefer Films in 3D over there! Just thinking out loud!

Now some things remain UNCLEAR TO ME, for example; “In 2012, the quota was expanded to 34 films Foreign (where does it say USA, maybe it does), and 14 of which must be 3D or IMAX Productions.” China agreed to revenue a sharing agreement on Foreign Films to straight 25% (Percent) of all box office receipts. All though much simpler for foreigners Distributors (it’s really hard to get the money), they really don’t have a good record on that (Very Bad Credit), it was supposed to be better for the Foreign Producers. It’s really hard for them to let go of the “Check” when the time comes, just like the Movie Business in Hollywood. I think they took a “Hollywood Accounting” course somewhere along the line.

There is a fuller explanation on this CONFUSING SITUATION at these three references; http://chinafilmbiz.com/2012/11/07/how-chinas-movie-distribution-system-works-part-1/ and on; http://chinafilmbiz.com/2012/11/09/how-chinas-movie-distribution-system-works-part-2/ and how distribution of revenues works; http://www.homemediamagazine.com/studios/china-opens-market-us-movies-26468

Now to quote from the last reference; “Under terms of the deal, CHINA WILL ALLOW IN 14 HIGH-DEFINITION RELEASES IN 3D AND IMAX, in addition to the current quota of 20 movies annually. IT ALSO WILL ALLOW STUDIOS TO KEEP 25% OF BOX OFFICE REVENUE — up from 13%. There was no mention if the agreement includes DVD and Blu-ray Disc. China is notorious for turning a blind eye to a rampant internal black market for pirated studio titles released on disc.” Home Media Magazine

Now that’s 25% from China, generally on the first weeks of distribution the distributor gets 50% of the revenues (or higher) and then on a downward scale they eventually receive less till arriving at 25%, in China it begins with 25% (God only knows what’s missing before their calculations) and then you have to fight to get your money, interesting. It was as much worst, 13% to 17.5% before it jump to 25% but then they wanted a 2% VAT which they finally relented for now.

I think the problem with China is that you’re doing business with a highly Bureaucratic Government, they fight amongst departments, everybody want to be in charge, we have the same problem to a lesser degree in Costa Rica. So the Official word is you’re doing business with the “China Film Group Corporation (CFGC or CFG)”, but they have other government entities to deal with, it’s sort of complicated, I really don’t understand it. There is what is written, and then there is what actually happens, just like Costa Rica. But wait, there is the; Huaxia Film Distribution Co., Ltd “Launched in March 2003, Huaxia is the second and only other distributor of foreign movies aside from CFGC. Huaxia Film cannot import movies, and its distribution strength is not as great as China Film Group’s.” It gets complicated, and never mind what happens behind closed doors, that’s a mystery.

So China has been, and continues to be a complicated case, but they are the most populous country on Earth! You don’t really want to talk about “Chinese buy-out Movies”; they don’t pay anything, why do the Studios continue to-do Business with China, that a mystery too, maybe is part of the “Hollywood Accounting Methods”? I really don’t know, is a mystery to me, I hope that our Chinese Friends don’t take offence, but you got to call it like it-is.

Finally to quote from the Home Media Magazine again; ”For independents, this agreement is MOMENTOUS,” said IFTA CEO Jean Prewitt. “Our sector has been unable to benefit fully from the existing revenue-sharing importation quotas and has had limited avenues through which to distribute. For the first time, through this agreement, there is a promise of creating a commercial foundation that will allow independent producers to participate more fully in the Chinese marketplace.” Home Media Magazine

I’m not sure about the Independents, either, that’s just me, the eternal skeptic, I spend 13 years in Costa Rica, and so I know how the system works over here, more or less!

Humberto Rivera

 

[Humberto Rivera]

Some more thoughts on China! I was just thinking if One takes the EXAMPLE of a movie that made $100,000,000.00 at the Chinese Box Office and says; OK let’s give half to the Theater, that leaves $50 M on the table, and we just added $50 Million to theater owners value along with Food & Beverage; OK now they have relied on their Local Distributor that provides the film to the theater, he needs a cut (whoever it was, but there is got to be one besides the “China Film Group Corporation (CFGC or CFG)” so let’s call him the intermediary he has to take a cut, plus the various Taxes that go to the government (and some Vacuumed Cleaning of the Box Office Receipts), so let’s say there goes another amount, let's give them the benefit of the dough and say there goes another 20% of the Box Office or $20 Million, (plus whatever else was suck-in by whoever somewhere along this path)! That $70 Million, which leave $30 Million Dollars that, goes to the “China Film Group Corporation (CFGC or CFG)”.

I’m not sure what happens here, they split it 50% 50% or they pay 25% either way its $15 Million or $7.5 Million Dollars or maybe I’m wrong and the get $25 Million, so there is got to be more information to-it. Well you can claim that you made $100 Million in China and added to your Gross Income on a World Wide Basis (it does not matter because of Hollywood Accounting). I want to say, that I really don’t have the full answers, their Business ads more questions that it provides answers. And we’re not going to speak of what happens with DVD sales pirated or blessed, because we just simply don’t know. Anyhow that’s my final word on China!

Humberto Rivera

 

[Humberto Rivera]

Here is an article that I found interesting; http://collider.com/top-5-enders-game-set-visit/#more-279272 “TOP 5: ENDER’S GAME Set Visit, DALLAS BUYERS CLUB Trailer, Stop Asking for Bryan Cranston to Play Lex Luthor, DIVERGENT Trailer, INTERSTELLAR Plot Info” by Jason Barr

IT SAYS IN PART; “After weeks of deliberation, last night I made the decision to resume my Netflix subscription. Today, after having watched the pilot episode of its original series ORANGE IS THE NEW BLACK, I can say with confidence that was $7.99 well spent. Only one episode in and I can absolutely see myself spending the rest of this Labor Day weekend devouring the remaining 12 episodes with ease. While you’ve likely read some of the show’s rave reviews elsewhere already, I’ll lend my own endorsement by saying that the pilot offers a near-perfect balance of humor and drama. Moreover, the pace is never slowed by consistent cutting between Piper Chapman’s (Taylor Schilling) past transgressions and present consequences. If anything, it serves to heighten the depressing reality of the situation we find Chapman in. All said, I give the pilot high marks all around and myself a disappointed facepalm for not having got in on the series sooner.” Collier

It appear that Netflix is starting to gain a new image, Remember back in Post #226, http://www.deadline.com/2013/08/net...erience-with-new-multi-year-pact/#more-567620 and more important Kevin Spacey endorsement of Netflix in his “GUARDIAN EDINBURGH INTERNATIONAL TELEVISION FESTIVAL” 2013 JAMES MACTAGGART MEMORIAL LECTURE, were he talks about how his series was finance! http://www-deadline-com.vimg.net/wp...L-LECTURE-2013-KEVIN-SPACEY__130822175934.pdf Post #228, were he said; “give the public what they want, when they want it” he said; “We know what works and the only thing we don’t know is why it’s so difficult to find executives with the fortitude, the wisdom and the balls to do it,”. Kevin Spacey

Humberto Rivera

For those of you that speak Spanish, I just saw this interesting article in Costa Rica Today; http://www.crhoy.com/las-nuevas-series-originales-de-netflix-cambian-el-mercado-y-la-competencia/ it’s about Netflix, they seem to be everywhere!

 

[Humberto Rivera]

Something I found interesting in Gunleik Groven and Mark Toia post is that they decided to work with the “Epic 6K Dragon Camera”, and ignored the Epic M-X, as if were another camera, which it was, but I got to remember that is treated as an UPGRADE not a new camera. Now that we have the hindsight of Gunleik and Mark post, I found that the “Epic 6K Dragon Camera” can only be compared to Film (65 mm), NOTHING ELSE! No Arri Alexa, no Sony F65, not even 35 mm Film itself, just 65 mm Film, that’s just MY OPINION!

The camera excels in many new feature, but they stand out in Dynamic Range, Resolution, Color Depth, and ISO/ASA that seems to be movable between 250 and 2000 (approximate numbers) depending on your preference. Both of these people are free souls that seemed to share an “I don’t give a shit, kind of attitude, that says; let the chips fall where they may!” I don’t mean this in any kind of derogative kind of way; actually I think is kind of refreshing, just MY OPINION.

First impressions on the Images, Mark Toia made a very precise report with all the information posted on the Images, it was rather informative about the “Epic 6K Dragon Camera”, while Gunleik Groven had a more loose approached that gave it ‘as-it-was’ from full Noon Light (you can tell by the shadows) of a scene of downtown (Oslo I presumed), yet his experience and his art show through anyhow, the light in the ‘low-light-level’ off his good friend CFG Wesenberg, the Photographer, shoot in Monochrome with a 100 mm Master Prime at T 1.3 with ‘low-tungsten-light’, is spectacular.

Remember this is just a glimpse into the Heart of the “Epic 6K Dragon Camera”; knobs are still being turned at Red! I think that we should all give them a Big Thank-You for their fast an efficient work, both in ‘their-own-way’! They “did it their way” to paraphrase Frank Sinatra!

Humberto Rivera