Steven Soderberh’s State Of Cinema Talk

[Elsie N]

I have a few positive observations about http://www.reduser.net/forum/showthread.php?117540-Dragon-Dynamic-Range-Test-21-stop-chart by Gavin Greenwalt and Stacey Spears POST of their DSC Labs XYLA-21 test chart with an “Epic Dragon Camera”! Specially their post at; http://i111.photobucket.com/albums/...on_Dynamic_range_v10_zpsc2bc2d8e.png~original

It pretty much collaborates what I’ve been saying for a while, 14 T-Stops is a lot of Stops; T 0.75 all the way to T 64! The progression of 17 T-stops with 14 T Stops in the center T 0.7 to T 64, that’s well beyond the existing range of any Lens I know of (T 0.35 – T 0.5 - T 0.7 –T 1 - T 1.4 - T 2 - T 2.8 – T 4 - T 5.6 - T 8 - T 11 - T 16 - T 22 - T 32 - T 44 – T 64 – T 88) are power of the square root of √2. Whiting that range you can slide your Exposure Range and be covered in practically and situation during Production, with some tweaking to be done afterwards in Post-Production. It kinds of follows the line of what I said in; “POST #335 above”. So I want to extend my “Heartfelt Thanks” to “Gavin Greenwalt and Stacey Spears”! We actually we don’t know where the “Dynamic Range Argument” will ends, but it will be way beyond 14 T Stops! And not a 2k or 3.4K Image its 6K for now, and beyond, who know!

“SIDE NOTE: I SAID BEFORE IN A PREVIOUS POST; “Arri has a New 3.4K Resolution Sensor (not 4K) THAT THEY ARE STILL TESTING! It’s the OPEN GATE on the Alexa; meaning that they are opening their “Current Sensor” all the way to the edges and top! While the “Red Epic 6K Dragon Camera” takes a giant step forward with a New 6K Sensor, it has a Dynamic Range of 16 or 17+ stops; ISO/ASA 250/800/2000 (you choose how much you want to cover above and below the Dynamic Range); Color Depth and many more things! The “Red Digital Cinema Company” has seemed to have outreached the Arri Alexa again! The “6K Dragon Sensor” actually has a New Chip, while Arri seems to be trying to figure out if-they could use an “Open Gate” to achieve 3.4K (the old chip). The Arri you have to “Up-Rezz” to get to 4K the “Epic 6K Dragon Camera” you have to “Down-Rezz” to 4K! And the “Alexa” COST MUCH MORE than the “Red Epic 6K Camera” you have to pay MORE FOR LESS, does that make any sense?” And is not here yet!

I agree with Elsie, I’m only interested WITH WHAT YOU CAN DO with the “Epic Dragon Camera” (and whatever comes afterwards) BECAUSE of its “REDCODE R3D Files”; that’s where the “Secret Sauce” is-in “Meta Data”, not baked-in (and it’s Copyright), and there is ALWAYS going to be an upgrade to the “Secret Sauce” with Graeme continued correction of everything, INCLUDING “Dynamic Range” for FREE; that’s backwards compatible to the “Red One”! That’s the Red Business Plan for “Digital Cinema”! That’s not say I look at the Arri Brochure every so often, because they do make other things, including the Fine Arri Master Primes!

It’s as-if Red took over Kodak on the development process at a more advance rate, but on the “Digital Cinema” side! Maybe one day Arri will come up with a True 4K UDH Camera, but then Red would have left them on the “Dust”! 4K TV Monitors are here, and think of all those 2K Images Shot on the Arri Alexa; what a preventable waste! I suppose the current Arri Model works on a “Limited Basis”, if you shoot with the Cooke Anamorphic/i Prime Lenses at a 2.1 Aspect Ratio and use the entire Arri Sensor, but the “Red Epic Dragon Camera” is leaving them behind on Resolution, Color Space, with Red you get a thick negative that you can exploit in “Post-Production”.

Humberto Rivera

Humberto, that's an interesting way of thinking about lens/sensor compatability... food for thought.

 

[Humberto Rivera]

Thanks Elsie! The Cooke Anamorphic/i Prime Lenses, T2.3, at a 2.1 Aspect Ratios on the “Epic Dragon Sensor Camera” with “REDCODE R3D Files” and its Ø 33.54mm Image Circle, gives a nice 2.1or 2:4.1 DCI Image on the Dragon!

Looking at the “Anamorphic Characteristic” what you said raises some new thoughts; “Humberto, that's an interesting way of thinking about lens/sensor compatibility... food for thought.” Elsie N - You’re absolutely right on that Elsie! It more or less the same thing as using “Spherical Lenses” on the Camera because of what you loose on the top, you gain on the sides, BUT with the Ø 33.54mm Image Circle advantage of going “further to the top”. Just another way of looking at it with the resolution, and an imaginary extension to the sides, it’s probably around 5.5Ks of “Actual Image Area” being used (just a guess on the resolution)!

It probably raises some interesting questions about parallel placement of the camera for S3D, just saying! You don’t lose that extra stop of light going through the S3D glass, and the two cameras overlap each other at Ø 33.54mm “Optically” in-thin-air by 2x when you measure both cameras (A&B). You can see more on the Cooke Anamorphic/i Prime Lenses, T2.3, at a 2.1 or 2:4.1 DCI Aspect Ratio and its Ø 33.54mm Image Circle; more at #332, #333 and 334 above! All with the “Cook Look”!

Humberto Rivera

 

[Humberto Rivera]

Is there something new coming from the Red Digital Cinema Company?

http://collider.com/star-wars-episode-7-imax-greg-foster-transformers-4/#more-339919 IMAX President Greg Foster Talks TRANSFORMERS 4 and the IMAX 4K 3D Digital Camera; Won’t Confirm J.J. Abrams Is Using IMAX Cameras on STAR WARS: EPISODE 7 by Steve 'Frosty' Weintraub

Just a question for now, it seems that Jim has been rather quiet for now?

Humberto Rivera

 

[Humberto Rivera]

I went out yesterday and saw the Michael Bay film; “Transformers: Age of Extinction”. First led me go back to the first’s “Transformers” film with Shia LaBeouf, and Megan Fox, it was far superior to the one I saw yesterday, by a long shoot! It was about a teenager discovering the world, it was about a Special Operations Team in close combat with an unknown enemy, it was about a baffled Secretary of Defense looking for answers from young people who knew about computers, it was about a lot of things that seem to be properly sequentially placed in an editorial order, which all converged at the Hoover Dam.

Age of Extinction of was about a father played rather well by Mark Wahlberg (Cade Yeager), the only character that seemed to be well played. Just imagine if you’re City was being destroyed, wouldn’t you investigate, the Police, the FBI, even the CIA, the President would defiantly respond, how about NORAD they would respond for sure with things coming from outer space, and what about the Local and National News, they would be all over the story. So that’s what sets “Transformers: Age of Extinction” from the “Transformers” first film.

There were moments when the film just became more of the same (boring), robots destroying things, so it gave me chance to see is the 35 mm Film CU were they better than the Dragon CU, what was Dragon and what was new IMAX 3D could I tell them apart, and things like that, the Film was OK, but I should have waited for the cheaper seats after the Tenth of July.

STEVE FREEBAIRN TELLS US THAT; “RED Epics were the primary format, so lots of close-ups were done with Epics and some with film. There really is a mix of everything. It's not really my place to guess how much of each of the different cameras footage will be used. All of the primary cameras (Epic, Film, and IMAX) were used a lot, and often at the same time, so you'll see a mix of everything. As I previously mentioned, EPICS WERE THE PRIMARY CAMERA. The IMAX camera was a completely different beast than the 3ality rigs with Epics, both have different strengths and are usually used for completely different type of work. Because of the fixed IO on the IMAX camera, it excels at big vista type shots, whereas the TS5s can easily capture a close-up. (On The Great Gatsby we also used TS5s with Epics. We did one shot of Joel Edgerton smoking a cigar, where his face was practically up against the mirror box, not that that is great for 3D, but it's less of a problem when you can adjust your IO)” Steve Freebairn

So to conclude, it was worth watching from an Epic Dragon user’s perspective, from a filmmaker, it was OK!

Humberto Rivera

 

[David Kuhn]

Baysplosions Humberto... it's all about the Baysplosions.

 

[Humberto Rivera]

I was looking at The Hollywood Reporter today and I saw this article; http://www.hollywoodreporter.com/news/summer-box-office-analyst-cuts-716886 “Summer Box Office: Analyst Cuts Financial Expectations for Exhibitors” 5:51 AM PST 07/07/2014 by Georg Szalai.

China appears to have almost caught up with North America on Box Office Revenues, the jury is still out on the Michael Bay film; “Transformers: Age of Extinction”, but it will probably do a Billion Dollars on World Wide Grosses when all is said and done, that jury is still out, but is heading that way. Meanwhile North American Box Office Revenues are on slump. Take another film by Michael Bay; “The Island” 2005, staring Ewan McGregor and Scarlett Johansson, however it only made $162,949,164 Worldwide, not a lot even for 2005, but it was well structure, it was interesting, and it was set in the future.

I just keep on thinking about “Transformers: Age of Extinction” doing so well, when the script was so bad, go figure! David Kuhn called it “Baysplosions Humberto... it's all about the Baysplosions. ” or was brilliant marketing by Paramount Picture, who knows!

Humberto Rivera

 

[Humberto Rivera]

I wanted to talk about another subject associated with the chaos that can exist in film like; “Transformers: Age of Extinction”, a “fire fight”! How do you tell “friend from foe” in a fast moving event where split second decision have to be made in total chaos, and not have “friendly fire casualties”. Here we have the humans represented by the Police, Special Forces and others, then we have the “Autobods” they are all different but friendly’s. Then there are the bad guys all mixed in the ongoing battle. Somehow you’re side has to prevail, it can be quite confusing.

Well in the movie that question did not enter like it did in the first Movie, when the Special Forces were right there with the Shia LaBeouf, and Megan Fox characters. I say that as a person that has been in those kinds of situation, more times that I care to remember. I know that’s just a movie about robots with a soul, but it should have been thought about it.

This morning I discovered the post by Mark Toia; http://www.reduser.net/forum/showthread.php?118982-Michael-Bay-What-is-Bayhem “Michael Bay – What is Bayhem?” My sincere thanks to Mark for posting this video, it identifies some of his techniques, that’s good because here were beyond logic, it has worked in some films but I’m afraid it did not work for me in “Transformers: Age of Extinction”, there it went way out there beyond the first “Transformers” film WHICH IT DID WORK.

Humberto Rivera

 

[Humberto Rivera]

I went to see “'Dawn of the Planet of the Apes'” on Saturday, July 26, and to my surprise it was not in 3D, it was in 2D 1:85.1, I was a little disappointed because I’ve become one of those people who now goes to the theater to always see the Action Films in 3D. I don’t get headaches or anything close to that. I would probably wait to see them on 2D when they come to DVD, funny how that works. That’s the same thing that is happening in the USA, China, Russia, here in little Costa Rica and other parts of the world. The revenues for film shoot and release in 3D increased, because there is an audience for them. I think that as a FILMMAKER you know that you GOT TO DO THE FILM IN 3D if you want wide distribution and you can always put a 2D version like the film I saw the other day. Little by little the Multiplex are giving way to 3D by expanding the number of screen allocated to 3D, is happening slowly but it’s happening right here in Costa Rica. http://en.wikipedia.org/wiki/Dawn_of_the_Planet_of_the_Apes

FROM WIKIPEDIA; “Sequel! On January 7, 2014, the studio announced a third installment with Reeves returning to direct and co-write along with Bomback with a July 29, 2016 release date. An early licensing promo gave a place-holder title of Planet of the Apes No official title has yet been announced.” “The film closed the 36th Moscow International Film Festival on June 28, 2014.” Wikipedia

So S3D is in transition, and it’s not going away, that’s a fact! I’ll probably go back to see it in 3D another day during the week.

Humberto Rivera

 

[Elsie N]

I went to see “'Dawn of the Planet of the Apes'” on Saturday, July 26, and to my surprise it was not in 3D, it was in 2D 1:85.1, I was a little disappointed because I’ve become one of those people who now goes to the theater to always see the Action Films in 3D. I don’t get headaches or anything close to that. I would probably wait to see them on 2D when they come to DVD, funny how that works. That’s the same thing that is happening in the USA, China, Russia, here in little Costa Rica and other parts of the world. The revenues for film shoot and release in 3D increased, because there is an audience for them. I think that as a FILMMAKER you know that you GOT TO DO THE FILM IN 3D if you want wide distribution and you can always put a 2D version like the film I saw the other day. Little by little the Multiplex are giving way to 3D by expanding the number of screen allocated to 3D, is happening slowly but it’s happening right here in Costa Rica. http://en.wikipedia.org/wiki/Dawn_of_the_Planet_of_the_Apes

FROM WIKIPEDIA; “Sequel! On January 7, 2014, the studio announced a third installment with Reeves returning to direct and co-write along with Bomback with a July 29, 2016 release date. An early licensing promo gave a place-holder title of Planet of the Apes No official title has yet been announced.” “The film closed the 36th Moscow International Film Festival on June 28, 2014.” Wikipedia

So S3D is in transition, and it’s not going away, that’s a fact! I’ll probably go back to see it in 3D another day during the week.

Humberto Rivera

That last statement has me thinking, Humberto, that maybe it's not all about story as we are told time after time that "content is king." If a seasoned movie-goer like you will watch the same story exhibited in a different way, then maybe HOW it is exhibited ranks right up there with story.

That's not to say a story that doesn't resonate will be successful (just because it is shot in 6k using an array of OLPF filters '-) but how the story is presented above and beyond standard production values may indeed have a great deal to do with the total box office.

Something to consider, for sure.

 

[Humberto Rivera]

Elsie, I just saw you comment. And my thoughts are with you, for some people they prefer different types of exhibition methods, for a variety of reasons. I more often than not go to an actual “Movie Theater” (Brick & Mortar) to see a movie in S3D on the Big Screen, that’s something I cannot do at home, that’s just me, but there got to-be others, because of the increasing popularity of 3D World Wide, regardless of what anyone says. Those people have to mean HIGHER BOX OFFICE NUMBERS for the distributor, and hopefully at one point the filmmaker. You will always get more Theater’s to exhibit you’re film if you do-it in 3D, that’s just a simple fact.

Humberto Rivera

 

[Humberto Rivera]

My last Post got me to thinking; “Why do people pay good money to go see a film at a “Movie Theater” toady”. And the answer is rather complex, HERE IS MY OPINION (I probably left many reasons out); first because they are in S3D, that experience cannot be duplicated in the same way at home. Another might be the “Marketing Department” they are an important part of a “Distributors Organization” not too often mentioned, but nonetheless very important, and their job is to get you to see the film on a “World Wide Basis” BEFORE THE MOVIE OPENS. Take film like “Hercules” Recently there have been published reports that they are now spending the same thing as the film’s budget to sell the Picture; http://www.hollywoodreporter.com/news/200-million-rising-hollywood-struggles-721818 “$200 Million and Rising: Hollywood Struggles With Soaring Marketing Costs” 5:00 AM PST 07/31/2014 by Pamela McClintock. You have to recover “Two & Half” times what the “Box Office Receipts” are in order to “Break Even” that’s a pretty high mark to meet for any film that cost more than $100,000,000.00 to make if you add the extra $100,000,000.00 to that and God only know what else is in that budget. That’s $250,000,000.00 at the Box Office.

http://en.wikipedia.org/wiki/Lucy_(2014_film) “Lucy is a 2014 French action film directed, written and edited by Luc Besson, and produced by Besson and Europacorp. It was released on July 25, 2014. The film was shot in Taipei, Paris and New York City. It stars Scarlett Johansson as the title character, along with Morgan Freeman playing Professor Norman.” Wikipedia

The film “Production Budget” was around $48,000,000.00 (that might be a bid inflated) according to “Box Office Mojo” http://boxofficemojo.com/movies/?id=lucy.htm it was $40,000,000.00 but whatever it was, that pretty low for what turned out to be a “Hollywood Tent-Pole Picture” it beat many, many films that cost much more, with its US opening. Is still too early to predict what it will do “World Wide” and I say that because every Currency is just as good as the next, and the US Dollar is becoming less important, NOT TO BE IGNORED, but less important, especially for what is a “European Picture” with no Hollywood input.

It had an important audience the Wife, Girlfriend, or just simply the Woman audience. Why is that important, because they often decided what film a couple will see dragging other people along. Most people go see one or two films before going to the next big opening or whatever comes afterwards. So “Lucy” has already made money, and there is a long path before it completes its rounds in the “World Wide Theater Circuit”. It was not a Hollywood Film to begin with; it became one after it was in its final Post-Production.

They had a full set of Cook S4 lenses, 12 mm to 180 mm and two zooms; 18-80 mm ARRI/Fujinon and an Angenieux Optimo 24-290 mm. For those of you interested the film was mostly shot with the “Sony F65” not the “Red Dragon Camera” which was not as advanced then as its now, but who knows, Red continues to advance by leaps and bounce. http://www.fdtimes.com/2014/07/24/luc-bessons-lucy-described-by-thierry-arbogast-afc/ “Do you operate the camera or one of the cameras? Luc does the camera operating himself. Always. From the beginning, from his first movie, he was always behind the camera himself. Luc usually works with only one camera. If there are some action scenes, sometimes he uses the second camera for something very special, but not usually. If there is a second camera, I take it. But because we had the Steadicam 75% of the time, it was standing by, ready to go, already configured.” Film & Digital Times

MORE FROM FILM & DIGITAL TIMES; “I think also in the beginning people were afraid of 4K and maybe now it’s more accepted in France? I don’t think so. The RED was already in 4K, you know? The RED was very popular. So I don’t think that’s the reason. I think the reason that the camera was not popular is it’s a little ugly. It looks a little cheap. And it’s a little too big. So people stayed away from a big camera. It’s a big camera. Much bigger than the others.” “THE FILM BUSINESS IS ALMOST LIKE THE FASHION BUSINESS. IF THE CAMERA’S NOT STYLISH, THEY’RE NOT GOING TO USE IT. IT’S LIKE FASHION. Yes, exactly. Not fashionable. Sony has to think about that. The Genesis was very ugly too. Actually the Genesis, the Panaflex, and the F65 all kind of look the same? THE ALEXA AND THE RED HAVE THE BEST DESIGNS AT THE MOMENT FOR SURE. The ARRI D-21 was not very pretty.” Film & Digital Times - HUMBERTO’S NOTE; I personally think that’s a French THING! That’s a bunch of mumble, jumbo, when discussing the Camera, everyone is entitled to his opinion, and opinions do count, but it does not make-it so!

http://www.hollywoodreporter.com/news/why-female-action-vehicles-wont-723840 “Why Female Action Vehicles Won't Break Hollywood's Boys Club (Opinion)” 5:00 AM PST 08/07/2014 by Sheri Linden. That just one opinion of someone trying to explain why a film did well.

I must confess I have not seen the film because it has not arrived in Costa Rica, yet, when it does I will definitely go to the movies to see it.

Humberto Rivera

 

[Humberto Rivera]

There are few things that made me begin to think. The First is “Lucy” the is a 2014 French action film directed, written and edited by Luc Besson, and produced by Europacorp. I asked myself; why have other big Hollywood films played in Costa Rica since then, and not “Lucy”? Interesting question! Well today is way past any conceivable date that it will play in Costa Rica, so we have to wait for the DVD to come out, what a shame.

“Lucy” was the highest budge film produces by Europacorp. The film was distributed by EuropaCorp. Distribution (France) Universal Pictures (International), I know it’s hard for a Movie Studio to put more than twice the Budget into “World Wide” distribution cost for a film that just cost $40 M no matter the film. It’s not in their DNA. So the film did well in the USA especially compared to such films as “Hercules” which has already been distributed “World Wide” to poor Box Office receipts for its Budget Size, that’s the Hollywood mentality that guides the Studio Policy. And “Second” “Lucy” was not in S3D, which is slowly becoming a big think for “World Wide” distribution. So we still wait for the film to come to a local theater near me in Costa Rica, but to no avail. If not it will eventually come to the DVD store in the Shopping Center where I buy my groceries. The Question still persists!

So this week-end I’ll go see Indestructible 3, in S3D, and the World move on! That made me recall screenwriter William Goldman’s famous line: “Nobody Knows Anything.”

Humberto Rivera

 

[David Kuhn]

“Why do people pay good money to go see a film at a “Movie Theater” toady”
Humberto Rivera

For my family (we generally avoid 3D, so that's not a biggie for us)...
1) Visual Impact... Even though I've had a 720p and now 1080p projection and multichannel audio at home for many years... the video is still smaller than 'the big screen' (audio is better than all but a handful of theaters around me), IMO blockbusters and films with huge visual appeal deserve to be seen on the big screen. Of course that also means that many films I might have gone out to see before I now wait to see at home. I tend to reserve theater trips for films that have very high appeal to me.
2) Social aspect... going out to see a film is generally an organized family event for us, we generally get dinner then go see the film. The other activities around 'going to the movies' are as important as the film itself.
3) First Day... kindof ties in with 2... but for the REALLY big films... one's we've been looking forward to (LOTR for instance), we go to the midnight show. That started when we lived in Irvine and had a blast going to the opening of 'the Phantom Menace'. It's not as big of an event here in NY but still it can really add something more to the 'event' when it's opening night and you're seeing the film with lots of other folks who are equally excited.
4) Movie Popcorn... MMMMmmmm love the movie popcorn (my arteries may have a different opinion).

 

[Humberto Rivera]

All the people that live in the West have a freedom of choice unequal to anyone else! What about the Chinese for all their talk there is no freedom to do what they want, but yet their “super rich” people can come to the West and buy anything they want, where is the choice for them, the people in China, and the studios doing business with China Film Group, sometimes with special cuts just to satisfy the Chinese censors.

http://www.theguardian.com/world/20...pendent-film-festival-shut-down-china-freedom “Beijing independent film festival shut down by Chinese authorities” Jonathan Kaiman in Beijing

Humberto Rivera

 

[Jeffery Anderson]

My last Post got me to thinking; “Why do people pay good money to go see a film at a “Movie Theater” toady”. And the answer is rather complex, HERE IS MY OPINION (I probably left many reasons out); first because they are in S3D, that experience cannot be duplicated in the same way at home. Another might be the “Marketing Department” they are an important part of a “Distributors Organization” not too often mentioned, but nonetheless very important, and their job is to get you to see the film on a “World Wide Basis” BEFORE THE MOVIE OPENS. Take film like “Hercules” Recently there have been published reports that they are now spending the same thing as the film’s budget to sell the Picture; http://www.hollywoodreporter.com/news/200-million-rising-hollywood-struggles-721818 “$200 Million and Rising: Hollywood Struggles With Soaring Marketing Costs” 5:00 AM PST 07/31/2014 by Pamela McClintock. You have to recover “Two & Half” times what the “Box Office Receipts” are in order to “Break Even” that’s a pretty high mark to meet for any film that cost more than $100,000,000.00 to make if you add the extra $100,000,000.00 to that and God only know what else is in that budget. That’s $250,000,000.00 at the Box Office.

Who owns stock in what and what company owns what company and are they doing business together, e.g. a film buys commercial airtime and both are subsidiaries of the same parent company is money really being spent?

How to market a (bad) film is the eternal question...

the simple answer is derived from the obvious question: how do sell some something they don't need?
Make them believe they need it.

 

[Humberto Rivera]

Saw “Topaz” (1969) the other day on Cable TV without any interruptions, Alfred Hitchcock is still a “Master Filmmaker” even after all these years. Some of the characters don’t work as well today, it was a matter of acting style, but generally the structure of the Picture seems to hold pretty well. One thing that struck me was the budget, it cost $4 Million Dollars to make and it took in $6 Million Dollars, and with the “fuzzy studio accounting” it probably did better, but I don’t think it passed the $10 Million Dollar Mark. Those were the days when a dollar was worth a dollar. I remember the famous “hi-angle” shoot, looking straight down to the scene bellow; many shots done by Hitchcock have been copied over and over by many of today’s filmmakers’.

“Topaz is a 1969 American espionage thriller directed by Alfred Hitchcock. Based on the 1967 Cold War novel Topaz by Leon Uris, the film is about a French intelligence agent who becomes entangled in the Cold War politics of the events leading up to the 1962 Cuban Missile Crisis, and later the breakup of an international Russian spy ring in France. The story is closely based on the 1962 Sapphire Affair, which involved the head of French Intelligence SDECE in the United States, and spy Philippe Thyraud de Vosjoli—a friend of Leon Uris —who played an important role in "helping the U.S. discover the presence of Russian offensive missiles in Cuba". The film stars Frederick Stafford, Dany Robin, John Vernon, Karin Dor, Michel Piccoli, Philippe Noiret, Claude Jade, Michel Subor and John Forsythe.” Wikipedia http://en.wikipedia.org/wiki/Topaz_(1969_film)

Humberto Rivera

 

[Humberto Rivera]

I don’t know but I think I missed something along the line, or in the translation, or I’m I imagining things, I really don’t know.

Looking at the http://www.fdtimes.com/2014/09/02/arri-alexa-3-2k-prores/ ARRI Alexa 3.2K ProRes for UHD 9/2/14 - by Jon Fauer, and the Arri release at http://www.arri.com/news/news/new-alexa-prores-32k-for-uhd-tv/

This is the printed words which are at odds with reality, in 2015 nonetheless, they are going to have a 3.2 k – UHD TV image quality, what happen to the “6K Red Dragon Sensor Camera with R3D Files”. Something here doesn’t jive. “Alexa is future proof” what kind of statement is that”? They printed it with a straight face, nonetheless they said it

In dynamic range, resolution, color depth; all of those the Red Dragon beats the Alexa NOW, has the FUTURE Alexa beat all the way around, and that does not take into effect all the improvements that Graeme is working on. Go figure, I certainly can’t. :bored::001_huh:

Humberto Rivera

 

[Elsie N]

All the people that live in the West have a freedom of choice unequal to anyone else! What about the Chinese for all their talk there is no freedom to do what they want, but yet their “super rich” people can come to the West and buy anything they want, where is the choice for them, the people in China, and the studios doing business with China Film Group, sometimes with special cuts just to satisfy the Chinese censors.

http://www.theguardian.com/world/20...pendent-film-festival-shut-down-china-freedom “Beijing independent film festival shut down by Chinese authorities” Jonathan Kaiman in Beijing


Humberto Rivera

Along these same lines... this.

 

[Humberto Rivera]

Exactly Elsie http://televisions.reviewed.com/features/sorry-america-hollywood-doesnt-love-you-anymore

Humberto Rivera

 

[Humberto Rivera]

http://www.theguardian.com/film/2014/sep/04/abel-ferrara-death-of-pasolini-venice-film-festival “Abel Ferrara on the death of Pasolini: 'The pursuit of truth is what matters'”

That reminded me of a story told at Arthur Knight’s Class at USC Cinema, it was one of the most interesting classes I took while at USC, because you never knew what was going to happen, or who the guest was going to be, everyone from Alfred Hitchcock to a man who was a “Private First Class” in John Huston’s WW II unit when they liberated Rome during WW II. That man told the story of asking where films were done in Italy at the time. He was directed down a series of narrowing streets till he got to place where Paolo Pasolini, was showing his three students the finer points of filmmaking; “Federico Fellini”, “Roberto Rosselini”, and “Victorio De Sica”. I don’t remember the American that gave De Sica the film cans with the 35 mm film but he stayed in Italy and work on many films with Federico Fellini.

I remember that soldier shot with a 35 mm Elmo was asked by Vittorio De Sica; “Mr. Rich American, can you get us some B & W Film”, he did, and Victorio De Sica shot the “Bicycle Thieves” with that film. Roberto Roberto Rosselline went to shoot “Open City” and of course we all know what Federico Fellini did. It’s Just a memory from the past that was wakening by the story on “The guardian”.

http://en.wikipedia.org/wiki/Pier_Paolo_Pasolini
http://en.wikipedia.org/wiki/Federico_Fellini - http://en.wikipedia.org/wiki/8½
http://en.wikipedia.org/wiki/Vittorio_De_Sica - http://en.wikipedia.org/wiki/Bicycle_Thieves
http://en.wikipedia.org/wiki/Roberto_Rossellini - http://en.wikipedia.org/wiki/Rome,_Open_City
http://en.wikipedia.org/wiki/Arthur_Knight_(film_critic)
http://en.wikipedia.org/wiki/John_Huston

Humberto Rivera