Steven Soderberh’s State Of Cinema Talk

[Humberto Rivera]

Elsie got me to start thinking; the last is train is loading up and is about to leave half empty the “Brick & Mortar” station of “Film Cans” Vs. “Digital Cinema” but the “Old Names” are going to be really HARD TO SHAKE OF. I been thinking about “Digital Metaphors” lately, we live in a transitional digital world; “The US Post Office” is a good example of how an Industry that “Employed Many”, has been taken over by Emails, boards like RedUser.net, “Social Security Checks” are no longer Checks that arrive in the Mail, they are “Direct Deposits”, Facebook is a World Wide Phenomenon, DHL, UPS, and FedEx (you can check your “package-on-line”), we have a larger voice in the world, we are connected by an “Universal Wire” that transcends “National Borders”, Skype is free if the other person in any part of the World has-it, some governments try and suppress this enterprise, but people find ways around-it, YouTube is everywhere and is used by creative people everywhere, Quick-Time Files are moved around the world, Adobe Acrobat is use by every Major and Minor Players.

Here in Costa Rica the Post Office was DEAD, it only had a few Post Office Boxes left, it was killed by Email, DHL, UPS, and FedEx but it reinvented “it-self”, they had the locations thought-out the Country (very important location, location, location), it belong to the Government (also a plus), so what did they do? They got together with one of the large State Banks; “Bank of Costa Rica” (BCR), the Government set up a special place where they had specially train people at BCR, in certain branches throughout, and they Started RENOVATING things such as; Passports, Driver Licenses, Residency Cards, and now they are negotiating for the all Important “Government Voter ID Card” whose Number is used for everything you-do, all the documents you have to “pick-it-up” at the designated Post Office (you decide) all over the country, with an extra fee (paid at BCR) for the Post Office, they are thriving, and now you can go to any Post Office in the Country and get the whole thing done, and services are continuing to expand. You just saved a trip to “San Jose” from where ever you lived; all you need is your nearest Branch of BCR and the Post Office!

So I say again, why does it matter what we call-it; a Film, Cinema, Movies, Motion Pictures, Pictures, Digital Cinema whatever it is, we all know what we’re talking about, take the example of “The Film Festival” (Insert City Name) would you dare call-it something else? Can you imagine the “The Cannes Film Festival” called anything else, or “The Venice Film Festival”, or the “Any-City Film Festival”. I highly doubt it; they will always be called “Film Festivals” but Film, Cinema, Movies, Motion Picture, or a Picture would almost all originate in a “Non-Film-Mode” and quickly move into the digital Workflow for completion no matter what they use (no-one orders a “Film Print”), they are likely to remain “Digital Cinema”, save for a few, but they will eventually disappear also.

I personally think that none of this would had happened without the “Red Digital Cinema Company” and the Patent awarded to “James Jannard” and “Gaeme Nattress”, for their REDCODE R3D Files, we would still be in the world of 1080P (2K) and not in the “ever-growing” World of 6144 x 3160 Pixels (and growing exponentially), all the companies were brought “Kicking and Screaming” to the “table-just-to-do-4K” (it was about time), THAT’S MY OPINION. So there would not be a 6K “Epic Dragon Sensor Camera” and what is to come in the future!

Humberto Rivera

 

[Zeb B]

Not sure what his speech was intended to accomplish or leave the audience. Kinda unfocused and rambling. To me it made the case for the studio's current business model since profits and market share have increased over the last decade. Movies are a big business played by capitalistic rules. Period.

If you want to make art - go do it. If you want someone to front you $100M to create your art - expect a significant loss of creative control. True in movies - true in high tech start ups - true in any business.

I love Steven's work but can't help but think that those "studio suits" he is so quick to dismiss allow him to focus on his own special skills. Perhaps he wouldn't be shit without the current system - perhaps it allows Steven to be the best he can be. Perhaps he needs the suits more than they need him. Who knows?

 

[Humberto Rivera]

Zeb B, I’m not sure I understand what you’re talking about, but let me say that everyone is entitled to their own opinion, “so-be-it”! I think and agree with everything you said is TRUE, but what’s the point?

Humberto Rivera

 

[Zeb B]

The point? It's pointless to pursue the point or even to seek pointers to the point since there is no point . . . that is the point

 

[Humberto Rivera]

Cool, “there is no point” I-got-it! :001_smile:

Humberto Rivera

 

[Zeb B]

Actually the point is: Movies are a for profit business. Deal with it

And to Steven's statements about "we really have no idea why people choose to go to a specific movie". Pick up the book "Big Data @ Work". Your answer is out there - you just need to know your customer a little better - like the NSA knows what you're having for lunch tomorrow. ;-)

http://www.amazon.com/gp/aw/d/1422168166

 

[Humberto Rivera]

I suppose we can go back and forth forever! But that’s not the point since the “turn-of-the-last-century” we’ve had Movies (they charge a Nickel, and a Dime for the films), since those wooden boxes with the hand cranks on the side, till the new “Red Epic Dragon Sensor Camera”, movies are made by all people throughout the “Planet Earth”. “India” just to quote one example makes over 400 Movies a Year. There is China, Europe, the famous “The Odessa Steps sequence” from “Sergei Mikhailovich Eisenstein” Film “Battleship Potemkin” came from Russia, The Method Acting came from Konstantin Sergeievich Stanislavski, another Russian, here in little Costa Rica has made over a dozen film, in Argentina there is a medium size film Industry, Puerto Rico has the best Tax Credits in the United States, I could go on, but you get MY point.

Here are a few references for the above; http://en.wikipedia.org/wiki/Sergei_Eisenstein and http://en.wikipedia.org/wiki/Battleship_Potemkin. These films all have scenes that been copied by many filmmakers since its inception, and too some extend they are still copied-today. “Method Acting” was the foundation for the “Actors Studio” in New York City, lead by the famous Actor Lee Strasberg; http://en.wikipedia.org/wiki/Method_acting and created by Konstantin Sergeievich Stanislavski; http://en.wikipedia.org/wiki/Constantin_Stanislavski Lee Strasberg; http://en.wikipedia.org/wiki/Lee_Strasberg

Now for Hollywood, that’s a different animal, anything you say or invent about them is true, ANYTHING, that’s’ their business, and they are not going to change during our lifetimes, “so-deal-with-it”! So Hollywood has secrets, Surprise, Surprise, and SURPRISE!

As far as Steven Soderberh's, his words speak for themselves, they give us an insight into his world, I for one I’m thankful that he let us peek "into-it". The government (any government, the Chinese, the Russian, the United Kingdom, the Germans, the French, and even the US) “is-not-the-only-ones-with-Secrets”, try the “Hollywood Studios”, their “Non-Disclosure Agreements” or their famous “Hollywood Accounting” it’s the same for all industries, including the “Red Digital Cinema Company”, I for one I’m thankful that they have Secrets, we need some more American Companies with Secrets, the Japanese and the Germans (the two loosing countries from WW II) “do-not” (sarcasms)? The Chinese sent their people to USA to study, work, and in a surreptitious way, guess for what “steal-our-secrets"!

“Actually the point is: Movies are a for profit business.” My advice is “Deal with-it” I’m dealing with-it, as I hope you are; all in our different ways, “but-deal-with-it-we-must”, what’s the alternative? Remember; it takes a village!

Humberto Rivera

 

[Humberto Rivera]

ACTION /SPY /POLICE /HERO in question?

ACTION /SPY /POLICE /HERO in question?

He is a story in the Hollywood Reporter that I find interesting because it’s a matter of legal interpretation of the "ACTION /SPY /POLICE /HERO" genre; http://www.hollywoodreporter.com/thr-esq/mgm-claims-universals-section-6-693753 “MGM Claims Universal's 'Section 6' Is James Bond Knockoff in Lawsuit”

“MGM and Danjaq, rights-holders of the lucrative James Bond franchise, are now in a legal battle against Universal over SECTION 6, an upcoming film about the early days of the U.K.'s spy agency.” How can that be that MGM and Danjaq, rights-holders of the lucrative James Bond have a right over anything that smells of MI6? It’s a question for the “California Federal Courts” to decide, or maybe an out “court-settlement” (sealed) to mask whatever went on “behind the scenes”.

“The defendant in the case attempted to assert that the plaintiffs were trying to gain a monopoly over the "ACTION /SPY /POLICE /HERO" genre, but the judge upheld the plaintiffs' belief that Bond's character traits were sufficiently unique and well-delineated including his cold-bloodedness, his overt sexuality, his love of martinis 'shaken, not stirred' and his "license to kill." It didn't matter that many actors had played Bond over the years. The judge found this to be a "testament to the fact that Bond is a unique character whose specific qualities remain constant despite the change in actors." THR

Humberto Rivera

 

[Elsie N]

He is a story in the Hollywood Reporter that I find interesting because it’s a matter of legal interpretation of the "ACTION /SPY /POLICE /HERO" genre; http://www.hollywoodreporter.com/thr-esq/mgm-claims-universals-section-6-693753 “MGM Claims Universal's 'Section 6' Is James Bond Knockoff in Lawsuit”

“MGM and Danjaq, rights-holders of the lucrative James Bond franchise, are now in a legal battle against Universal over SECTION 6, an upcoming film about the early days of the U.K.'s spy agency.” How can that be that MGM and Danjaq, rights-holders of the lucrative James Bond have a right over anything that smells of MI6? It’s a question for the “California Federal Courts” to decide, or maybe an out “court-settlement” (sealed) to mask whatever went on “behind the scenes”.

“The defendant in the case attempted to assert that the plaintiffs were trying to gain a monopoly over the "ACTION /SPY /POLICE /HERO" genre, but the judge upheld the plaintiffs' belief that Bond's character traits were sufficiently unique and well-delineated including his cold-bloodedness, his overt sexuality, his love of martinis 'shaken, not stirred' and his "license to kill." It didn't matter that many actors had played Bond over the years. The judge found this to be a "testament to the fact that Bond is a unique character whose specific qualities remain constant despite the change in actors." THR

Humberto Rivera

Interesting... if they had done this as a parody they may have saved themselves a legal battle. I do hope this doesn't assign any and all rights to British Secret Service stories to them, even though I think my own will qualify as a semi-serious parody.

 

[Humberto Rivera]

"Interesting... if they had done this as a parody they may have saved themselves a legal battle. I do hope this doesn't assign any and all rights to British Secret Service stories to them, even though I think my own will qualify as a semi-serious parody." Elsie N

To quote further from the article; “"That is not true," says the plaintiffs. "All of the SECTION 6 SCREENPLAY'S CORE ELEMENTS ARE FICTIONAL. … No character in the SECTION 6 screenplay is a real person. And all of its important plot elements are fictional and historically inaccurate. Further undermining defendants' assertion that SECTION 6 is a historical account of the formation of MI6 immediately after World War I, the dialogue and relationships between the characters are strikingly out of place and years ahead of their time for a story set in 1918, as Section 6 purports to be." THR

Humberto Rivera

I don't Know, the Courts will have to decided!

 

[Humberto Rivera]

Over the last week or two HBO have been showing the entire “Three First Three Seasons” of “Game of Throne” on their different channels, and I have watched-it, some Seasons two times, anyhow MY POINT, the first three Seasons were shot on the “Alexa Digital Camera” for the most part, but “Season Four” the one on television NOW, has been shot with several “Epic Dragon Cameras” and even on a little, old (not 4K), and small in comparison to the relay big ones, “Season Four”, LOOKS GREAT! I can only imagine how it looks on a BIG “4K Television Set”!

This goes hand in hand with “Jarred Land’s” Thread; http://www.reduser.net/forum/showthread.php?115192-NETFLIX-4K-is-here “Thread: NETFLIX 4K is here....” Ultra HD - 4K is BEGINNING TO SHOW ITS FACE ALL OVER THE PLACE, all over the World, thanks to the “Red Digital Cinema Company”, and all its compatriots like Jim Jannard, Gaeme Nattress, and the rest of the gang, this has become a reality! Two K was not good enough use at least 4K or higher to gather you images, then DOWNREZZ to UHD – 4K for release, remember there is a TOMORROW, and we just don’t know what it will be! Look what Panavision did with their New Panavision 70 Lenses, “never mind fighting for a few extra millimeters of 35mm format image circle–just go to the next big major motion picture format–70mm–and let the sensors grow in size.” http://www.fdtimes.com/2014/04/10/panavision-primo-70/ maybe more lens manufacturers will start to think this way, it’s the FUTURE!

For those of you who always like a reference here it is; http://en.wikipedia.org/wiki/Game_of_Thrones

So the Studios and Independents who have been archiving their Produced Shots, Music Video, or the “Motion Picture Films” in UHD/4K, this is where you can start to shine, and in close proximity is S3D for those that wanted!

Humberto Rivera

 

[M Most]

Over the last week or two HBO have been showing the entire “Three First Three Seasons” of “Game of Throne” on their different channels, and I have watched-it, some Seasons two times, anyhow MY POINT, the first three Seasons were shot on the “Alexa Digital Camera” for the most part, but “Season Four” the one on television NOW, has been shot with several “Epic Dragon Cameras” and even on a little, old (not 4K), and small in comparison to the relay big ones, “Season Four”, LOOKS GREAT! I can only imagine how it looks on a BIG “4K Television Set”!

That is incorrect. "Game of Thrones" is still shot primarily on Alexa, including the current season. Red cameras were used for some additional photography and visual effect plates, but the primary camera is Alexa, as it has been since the beginning. If you think it somehow looks "different" you're trying to convince yourself of something that just isn't the case.

 

[Humberto Rivera]

Thanks Mike, "Game of Thrones" Season Four, you’re probably right about that. I always respect your point of view, and experience with your insights in the Post-Production Industry, so if you say they were used for some VFX Plates and Additional Photography, “so-be-it”! It still looks good in my old Television!

Humberto Rivera

 

[Humberto Rivera]

Reading the Hollywood Reporter made me think about how things have change and when will they stop! http://www.hollywoodreporter.com/news/how-steven-spielberg-picked-his-699902 “How Steven Spielberg Picked His Next Two Movies” 5:00 AM PDT 4/30/2014 by Borys Kit

There was a time, “once upon a time” not that long ago, when we shot Movies with 35 mm Kodak Film, you didn’t have to go through security at the airport, hell I remember catching a flight out of Denver to Los Angeles, with a rental car we had to deliver to the car rental company, as we entered the Airport the flight was already boarding, and jet we still just barely made it inside the Aircraft and sat down ready for “Take Off”, it wasn’t that long ago!

So how did we get from there to here? That’s a question that’s difficult to answer! To quote The Hollywood Reporter; “But several sources say the director remains gun-shy about taking on a film that would cost around $200 million (requiring a gross in the $600 million range to break even). Neither of the new projects has that kind of price tag -- BFG is said to be in the $100 million to $125 million range.” THR

The question is being asked by “Steven Spielberg” a person that shouldn’t have to worry about things like that; can you imagine how it is for the average filmmaker?

Humberto Rivera

 

[Humberto Rivera]

I been thinking about “Anamorphic Lenses” THE NEW ONES WILL BE AVAILABLE to the “Public” as time goes by, let me say that the “Panavision Primo 70 Lenses” would be the ideal lenses to use on a “Red Dragon Epic” and whatever camera comes from Red after that because it would fill the entire R3D Frame and then some, but THEY ONLY RENT, they DO NOT SELL!

So that leaves Cook, Hawk, Service Vision, and Arriflex! Out of all of them I’m thinking the Cooke Anamorphic/i Prime Lenses, T 2.3 would be the preferable lenses (from my point of view); WHY? Well because of their Maximum “Image Coverage” of Ø 33.54mm diameter would cover almost all of the “Epic Dragon Frame”, and you get the “Cook Look” to-boot (if you-like-it). Their RANGE compared to the None Anamorphic Arri Master Prime T1.3 is “Average”; but the Cook’s all T2.3 with “Focal Lengths” of 32 mm (16) – 40 mm (20) – 50 mm (25) – 75 mm (37.5) – 100 mm (50) and to come latter a 25 mm (12.5) & 135 mm (67.5). The Cook Lens would cover the ENTIRE HEIGHT of 15.8 mm and it would FALL SHORT ON THE SIDE by One Millimeter, but they would extend to the sides to 2x THAT RANGE, so it more or less equals the same realistic size “Image Wise”. The actual focal length would be the “Focal Length of the Lens” but their “field of view” would be comparable to I what approximately indicate between parentheses (--).

They would easily adapt to shooting a “2.1 Aspect Ratio” or a “2:40.1 DCI Aspect Ratio” at a pretty good resolution, they would have to be “Down Rezz” to 2.1 or 2:4.1 depending on what “floats your boat”! Because the lens do-go all the way beyond the edges so pick you size according to you preference for whatever it might be the numbers are on your side!

Here are some references; http://www.cookeoptics.com/l/anamorphiclens.html and a pdf at; http://www.cookeoptics.com/techdoc/6EFC43EF81C58EFA85257BD0007CCB47/Anamorphic-A4-ENGL.pdf NOTICE THE FULL RANGE OF SEVEN LENSES IN THE PDF FILE

Humberto Rivera

 

[Humberto Rivera]

Cook is DELIVERING THEIR FIRST SETS OF COOKE ANAMORPHIC/i lenses: 32mm, 40mm, 50mm, 75mm, 100 mm T2.3. http://www.fdtimes.com/2014/05/04/delivering-anamorphics/ “Delivering Anamorphic” 5/4/14 - by Jon Fauer

So their Anamorphic are real, and they have a better selection than Arriflex, for the moment. However they do have that Ø 33.54 MM Image Circle.

Humberto Rivera

 

[Humberto Rivera]

Continuing with the two posts in this tread; above in number #322 and #333. Well I got to thinking that the “Famous Cook Look” (with the S4i) and eventually with the “Cook Anamorphic” well it does look VERY GOOD as well as the Leica Summicron-C (by a small difference) THIS IS JUST MY UNSCIENTIFIC OPINION I must emphasis this SO THERE IS NO QUESTION. Any how I was looking at the thread by Corey Robson, “4K Mega-trumpet Chart vs. Dragon & Epic-MX”; http://www.reduser.net/forum/showthread.php?116396-4K-Mega-trumpet-Chart-vs-Dragon-amp-Epic-MX

NOW THIS IS HIS TEST, I’m just making an observation form his two jpg files, (only the DRAGON at FULL FRAME) nothing else, AN OBSERVATION! They’re just from HIS TWO JPG TEST comparing just two lenses the COOK and the LEICA’S, only those two at Full 6K on a Dragon 800 ISO, nothing else! Now if were to hypothetically introduce the new designed and technology of the;”Cooke Anamorphic/i Prime Lenses T 2.3” into the mix, and I EMPHASIZES HYPOTHETICALLY!

If you compare the circle in the MIDDLE OF THE ENCLOSED GRAPHIC, you can see a SLIGHT improvement on the resolution on the Cook Lens (S4i), now here we have wait for the new technology used by the;”Cooke Anamorphic/i Prime Lenses T 2.3” and this highly hypothetically and unscientific observation, and I would go with the Cook S4i. Anyhow that was my observation, in relation to the new Anamorphic Lens I know nothing about till I get them on my hands, but they do look very promising! But what the hell I thought I write about these two lenses, THEY ARE BOTH GOOD LENSES, they both come from Reliable Companies that have a reputation for one of the best in their field (never forgetting the Master Primes)!

However it’s the “Cooke Anamorphic/i Prime Lenses T 2.3” lenses do have the Ø 33.54mm Image Circle, which is extremely important in relation to other Anamorphic Lenses announced, because from the Ø 33.54mm Image Circle is where we begin to measure the 2x extension of the image to the sides with other lenses, that means we can go up to the 15.8 mm of height of the frame, so what we loose on the HORIZONTAL we can gain on the VERTICAL, but we also get to go out from the 33.4 mm and beyond to the sides, it sounds to me that were about the same on actual IMAGE PIXEL COVERAGE, by what we gain in the extension to 2x to the sides in actual pixel count, and that sounds like a winner, no matter if we want to go to 2:4.1 or 2.1 it’s a gain no matter what.

Leica Summicron-C https://dl.dropboxusercontent.com/u...n_6KFF_800ISO_Leica_Summicron-C_50mm_T5.6.jpg and the Cook S4i https://dl.dropboxusercontent.com/u/55061736/Public/Dragon_6KFF_800ISO_CookeS4i_75mm_T5.6.jpg

Humberto Rivera

 

[Humberto Rivera]

I got to thinking, 17 T-Stops IS A LOT OF LIGHT to split up among increments of “One T Stop”; it “really-is”, so I revisited an old chart of mine, so here is what I found! I divided the “All the T Stops” into increments of THREE SETS, the Ridicules Low T Stops, the Reasonable Middles T stops, and the Ridicules High T Stops. I’m not saying that Red Dragon “in-fact” it does have 17 Stops of Light, but if it doesn’t TODAY, IT WILL ONCE THE COLOR SCIENCE IS DONE, that’s too many factors to ignore; but this is not the subject of this conversation, whether it does or not, it’s just to illustrate the range of T Stops I’m talking about! Graeme has a “way to go” before his final “Magic” in the Red Dragon R3D Files are completed!

But let’s take a look about were talking about! FIRST the Ridicules Low T Stops, they range from T0.35 to T 0.5! SECOND, the Reasonable Middles T stops range from T 0.7 to T 44 Stops, THAT’S JUST 13 T STOPS; it exceeds the range of T Stops marked on any lens! I think we can agree that the “Red Dragon Camera” accomplishes this today without any question. THIRD, the pin hole Ridicules High T Stops of T 64 and T 88, now that’s HI, so high that like what you would use in a “Motion Mount” for an extremely hi-depth of field, not likely, but there it is!

The progression of 17 T-stops with 13-T Stops in the center T 0.7 to T 44 (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.

Humberto Rivera

 

[Humberto Rivera]

I was watching “American Graffiti” the other day on CineMax, and it made me think how short life is; “Where did it-all-go? “We can’t stay 17 forever!” was the line that the “Ron Howard” character used on the character played by a very young looking “Richard Dreyfuss”. It was a George Lucas Film produced in 1973 by Francis Ford Coppola and Gary Kurtz. After ALL the Studios turned him down it became a self financed film for $775,000.00 it’s made $140,000,000.00 so go figure! Where did all the “Years” go? Where did “Jan & Dean”, and the “Beach Boys” GO?

http://en.wikipedia.org/wiki/American_Graffiti ”The film was released to critical acclaim and financial success, and was nominated for the Academy Award for Best Picture. Produced on a $775,000 budget, it has become one of the most profitable films of all time. Since its initial release, American Graffiti has garnered an estimated return of well over $200 million in box office gross and home video sales, not including merchandising. In 1995, the United States Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.” Wikipedia

MORE FROM WIKIPEDIA; “During the production of THX 1138 (1971), producer Francis Ford Coppola challenged co-writer/director George Lucas to write a script that would appeal to mainstream audiences. Lucas embraced the idea, using his early 1960s teenage experiences cruising in Modesto, California. "Cruising was gone, and I felt compelled to document the whole experience and what my generation used as a way of meeting girls," Lucas explained. As he developed the story in his mind, Lucas included his fascination with Wolfman Jack. Lucas had considered doing a documentary about The Wolfman when he attended the USC School of Cinematic Arts, but dropped the idea. Adding in semi-autobiographical connotations, Lucas set the story in 1962 Modesto. The characters Curt Henderson, John Milner and Terry "The Toad" Fields also represent different stages from his younger life. Curt is modeled after Lucas's personality during USC, while Milner is based on Lucas's teenage street racing and junior college years, and hot rod enthusiasts he had known from the Custom Kulture in Modesto. Toad represents Lucas's nerd years as a freshman in high school, specifically his "bad luck" with dating. The filmmaker was also inspired by Federico Fellini's I Vitelloni (1953)” Wikipedia

So where is the Next “American Graffiti”; turned down by ALL the Studios and it goes to be one of the most profitable films ever, nominated for an Academy Award, and on, and on! He/She is out there somewhere! I hope they use the “Epic Red Dragon Camera” so it can go-on forever! Read the Wikipedia reference everyone in the Film has an interesting tale to tell!

Humberto Rivera

 

[Humberto Rivera]

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 exiting range of any Lens I know off (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