Welcome to our community

Be a part of something great, join today!

Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

The Book of Eli...

I've seen the trailer and it's awesome! Congratulations Jim and the rest of the Red Team, makes me proud that our company is using Red One cameras.
 
Jannard said:
"The Book Of Eli", staring Denzel Washington, Gary Oldman and Mila Kunis is the latest feature film, as well as the largest budget to date, to shoot with the RED Digital Cinema camera.

More info to follow soon.

Jim
Click to expand...

Congrats Jim! You guys are truly doing a spectacular job- even just with the marketing alone. The website looks incredible- and the quality of RED's products are awesome- much like OAKLEY (I'm a fan as well). Keep up the good work and I hope more features will follow this trend!
 
We don’t get the latest films out here in Costa Rica as you do in the states, but I did see “Knowing” on DVD the other day, and I COULD NOT tell that it was shot digitally. It was afterwards when I saw the Red One in the in “The Making of” that it was confirmed. Headlights into the lens, and all sort of things that might have giving them away. I’m waiting for “District 9” to show up on the Big Screen. God only knows when we’ll see “The Book of Eli”.

Humberto Rivera
 
Was it just me?

Was it just me?

Did anyone else not see the RED logo at the end of the film? For some reason the small sense of pride I get from seeing that "filmed on RED digital cinema" logo at the end of a RED movie didn't show up at the end of "The book of Eli" Don't know if they just used the canned panavision lenses and cameras logo when they sent it out or what but RED wasn't in the credits.

Although the camera's weren't properly credited on the print I saw the RED technicians were however.

Aside from that the film was a welcomed change from some of the recent movies I've seen. I really like the feel of it, from cinematography to the colorists treatments. I'd love for others to give their opinion on the technical aspects.
 
Ralph B. said:
Did anyone else not see the RED logo at the end of the film? For some reason the small sense of pride I get from seeing that "filmed on RED digital cinema" logo at the end of a RED movie didn't show up at the end of "The book of Eli" Don't know if they just used the canned panavision lenses and cameras logo when they sent it out or what but RED wasn't in the credits.

Although the camera's weren't properly credited on the print I saw the RED technicians were however.

Aside from that the film was a welcomed change from some of the recent movies I've seen. I really like the feel of it, from cinematography to the colorists treatments. I'd love for others to give their opinion on the technical aspects.
Click to expand...

I mentioned this in another thread, but I wonder if it's because it was shot on a Panavised Red One with Primos, so they put the "shot on Panavision Cameras and Lenses" tag in.
 
Ryan Valle said:
To me, it seems like you're finally admitting RED was originally intended to be a big scam, but has done more good than harm to everyone :)



Wouldnt it be more financially reasonable to purchase a few RED ones and then re-sell them or keep them for future shoots rather than rent? The cameras are quite affordable and would probably be best to own it over rent. But that's just me and would like to hear some input.
Click to expand...

Renting is sometimes a strange, old, bad habit that comes from the days when key equipment could not be bought (Panavison, et. all)

Now at 1/20th price (real price, not asking) of piece per rental day (granted, many places here give you 2 day rental weeks and so on, but still) we've done some math in terms of what is worth renting, and what is not. If we are likely to use something more than a certain amount of days, we buy it. Even using something what would cost 5 rental days, it is often smarter to buy and then re-sell. In there is a balance between immediate cashflow (especially now that banks have gotten tight with loans) and long-term benefit, but still, many prodcos are hung-up on rental business models.

There are many pieces here that we would have piad for many times over by now had we rented them. Certainly a main camera is something you use every day, and on a feature film, (just one film) you are likely to exceed 20 rental days, let alone that you could re-sell these cams at the end of prod. if you wanted to.
 
Jonathan L. Bowen said:
Honestly, we all feel that way. It's just nonsense, you pay almost $700 for a permit even if you're an indie filmmaker shooting on private property, why would anyone bother to follow the "law" (which is unconstitutional, if you ask me -- who gave them permission to say what can and cannot be done between two private parties on private property??) when it is total extortion? Furthermore, they make you feel like unless you are Warner Bros. you are basically not welcome to film at all. It's a very negative attitude here. I'd far prefer to take my business elsewhere if I had the financing for a larger feature.

It'd be nice to take it somewhere that you feel people are excited about you being there. They are filming Leverage up in Portland, OR, and everyone is stoked to have such a big budget TV show by a name producer up there. People really appreciate and love filmmaking in other places. Here, it's just looked upon like another annoyance.

California in general is the most anti-business state around. The horrid sales taxes don't help either. I used to think I wanted to live in L.A. for good, but I'm not so sure that I'd want to do business here for good. May be best to take operations elsewhere when I have the cash.
Click to expand...

My problem with shooting in L.A. is how few nice exterior locations it has. It has almost no urbanism that does not evoke blight. So, say you want a location for a cute meet in a romcon. You chose between 3rd street in Santa Monica (which we have seen 1 million times and which is a nightmare to book for shooting) the Santa Monica Pier (ditto) the beach (yawn) and a tiny handful of other locations seperated by what seems like hours of driving. Simply put, most of L.A. is very depressing urban sprawl, there is almost nowhere for locals to experience shared narratives in a positive public realm, and nowhere for filmmakers to create fictional ones. It ends up being a series of enclosed private spaces, which to me leads to films that feel claustrophobic. As someone who grew up in Europe and Montreal, in my own sense of normalcy much of life takes place out there in the public squares and shared urban spaces and in L.A. there is something desperately missing.
 
Rob Ruffo said:
My problem with shooting in L.A. is how few nice exterior locations it has. It has almost no urbanism that does not evoke blight. So, say you want a location for a cute meet in a romcon. You chose between 3rd street in Santa Monica (which we have seen 1 million times and which is a nightmare to book for shooting) the Santa Monica Pier (ditto) the beach (yawn) and a tiny handful of other locations seperated by what seems like hours of driving. Simply put, most of L.A. is very depressing urban sprawl, there is almost nowhere for locals to experience shared narratives in a positive public realm, and nowhere for filmmakers to create fictional ones. It ends up being a series of enclosed private spaces, which to me leads to films that feel claustrophobic. As someone who grew up in Europe and Montreal, in my own sense of normalcy much of life takes place out there in the public squares and shared urban spaces and in L.A. there is something desperately missing.
Click to expand...

Yeah... looks like few people can handle L.A. as it is in a movie... Actually, Michael Mann made his own set of L.A. his but i don't see any other good exemple.
 
I just saw it last night and loved it. Reminded me of Fallout 3. I watched it on Christie 2K DLP at Cinetopia. The ultra-high-contrast color grading isn't normally to my taste, but I think it worked really well for the harsh post-apocalypse setting. I was surprised to see so many aliasing artifacts, but other than that it was very immersive. I didn't notice any noise or compression issues. The focus puller didn't miss a shot that I recall. The fight choreography was fantastic except for the ranch house scene where it traded visceral and gritty for distant and unconnected. I loved the story. It's the only movie in recent memory that left me with something satisfying afterwords (quite the opposite of Avatar in that way).
 
Saw it last night at my local Cinemark (don't shoot me, it's all I have). I was really impressed with how it looked overall. There were a couple of scenes, such as when he is staying the night at Carnegie's, when some noise was visible to me, but I'd say it was fairly acceptable.

It looked much more "filmic" than District 9, but I think that was more because of the style that D9 was going for versus capabilities of the filmmakers. I was most impressed with the grading on Book of Eli.

I'd say Book of Eli is a product RED can be very proud of!
 
I saw it last night, and I felt myself constantly frustrated at the lack of detail in the shadows. I saw it on a 2k digital projector, and I actually went and talked to the projectionist in the middle of the movie to see if there were some gamma issues, but he said it was fine. Maybe they just crushed the blacks a little too much for my taste. Or maybe I'm just nervous that everyone's going to use this as evidence of RED's limited dynamic range. It's hard for me to be objective about RED footage anymore.
 
Julio, I think that was intentional to their look. High contrast, stark, almost monochromatic.
 
The Book of Eli is going to kick off Avatar from the No.1 Box office movie this weekend !!!
 
Red seemed to work great for this type of movie, actually red seems to be best with these types of grades, stylistic, crushed blacks etc.

I'm sure it's great for dances of wolves type colors to tho, I can't wait for someone to do a movie more in line with those types of colors, really warm rich beautiful colors, lots of range, would luv to see a big movie like that, will really keep the naysayers quiet!
 
I stayed for the end credits. I did not see a Red logo at the end as with some features, the only mention of Red was in the body for the credits for techical. Why? It said Panavision cameras and lenses. Was this shot with a "Panavised Red Camera"?
 
Troy, you're right I haven't seen a Narnia or LOTR epic style film shot yet. Maybe we'll get to see that next. Anyone know of anything like that in production?
 
jamesbridges said:
I stayed for the end credits. I did not see a Red logo at the end as with some features, the only mention of Red was in the body for the credits for techical. Why? It said Panavision cameras and lenses. Was this shot with a "Panavised Red Camera"?
Click to expand...

They used Panavision Primo lenses so that is probably why.
 
jamesbridges said:
I stayed for the end credits. I did not see a Red logo at the end as with some features, the only mention of Red was in the body for the credits for techical. Why? It said Panavision cameras and lenses. Was this shot with a "Panavised Red Camera"?
Click to expand...

This was mentioned earlier in this thread. It was shot with a Red using PV Primos, which means a PV mount, and possibly other PV accessories. Enough for it to count as Panavised, I guess. You'll see the same credit on films shot with Panavised Sony F900s.
 
Really liked the movie. Although I am beginning to tire of the whole trend towards monochrome grades with crushed blacks. Actually, I'm officially over it. Its difficult to sustain that much unrelenting sameness in the color palette over a feature length movie. Color affects mood, and the viewer's state of mind, its too easy to get bummed out. I've seen what Red looks like in all its chromatic glory, can't wait for a full-spectrum example.
 
You must log in or register to reply here.
Back
Top