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

The Girl with the Dragon Tattoo...

Im making a three hour trip on Wednesday to go see it in Dallas in 4k. :)

It will be my first 4k experience.
 
I just was at a studio holiday party on Friday discussing upgrading the studio to support a full 4k pipeline as TGWTDT came up in discussion. Thoughts like "scary, exciting, wonderful, about time, it's gonna hurt, etc....

With more productions going the route of 4k it looks like 2012 is going to be a major year for studios and major VFX studios to upgrade. It's certainly on a lot of people's minds industry wide. This particular studio I serviced their Red imaging needs for several years before I vanished into the abyss. Editors had questions about the Premiere Pro and RedCineX workflow whenever I was chewing on material. It certainly will be easier on the larger studios by preparing now for the 4k wave. For some it's been a standard for a while, for others it's a scary alien world. Some studios are certainly already ready and producing high resolution output, but for some there will be technological growing pains others.

It's really, really exciting right now in the world of motion pictures. 4k releases, the move to 48fps 3D, 4k displays coming down the shute. Great times for those passionate about imagery.
 
Brook Willard said:
I can't wait to see it. Jim, do you happen to know which theaters will be projecting in 4K in LA?
Click to expand...

Hey Brook. I believe Landmark LA will be doing a digital 4k projection. Certain AMC theaters out here have them. I was told the Arclight "is equipped" with digital 4k. I'll know much more tomorrow.
 
Phil Holland said:
Hey Brook. I believe Landmark LA will be doing a digital 4k projection. Certain AMC theaters out here have them. I was told the Arclight "is equipped" with digital 4k. I'll know much more tomorrow.
Click to expand...

Landmark did a 4K projection from the 2K DCI file for Blade Runner.

Pretty sure they will do proper 4K if possible for Prometheus...

Bruce Allen
www.boacinema.com
 
"Hey... Dan? Dan? Have you read this?"
"No, what's up, Zack?"
"Naw... this can't be right... The Girl With the Dragon Tattoo..."
"Yeah. Fincher. We'll go with Meg and Jen."
"Yeah... but - you don't understand. It was shot on RED."
"Pfff. Who cares. They just use them because they can afford them. And besides, RED was always late with their launch dates. And when the 1DX comes out, even Steven Spielberg's going digital."
"No... no, no, you don't understand, Dan. It's a 4K film."
"Hah... 4K? Whatever -"
"Yeah but it says here -"
"Who cares? 2K is the standard, dudeman. It's the standard for TV and the standard for cinema. What goes down in your lounge room goes down in your multiplex - democracy in cinema. RED's going to collapse trying to sell stuff that nobody needs. Everyone's going 2K. They just want to sell you expensive cameras. Indies are buying DSLRs by the ass-load - and then when they can afford it they graduate to 5Ds. 2K, Zack. 2K."
"I know, man. You don't have to convince me. I came up with that slogan, remember?"
"What slogan?"
"'DSLR killed the Panastar'. Remember? It's my sig for the Cinema 5D forums."
"Really? I thought you came up with that one, what was it - 'No crew, No lights, No limits'."
"Not me, man."
"Wasn't you?"
"Naw, man."
"Cool. Anyway, you got your 5D yet?"
"Oh, no, not yet. Still saving. I need more hours at the car wash. But anyway... you're not going to believe this. It says here that it's going to be a 4K film."
"Pfff. Yada yada."
"As in... projected... in 4K."
"What? Bullshit. Give me that iPad."
"Careful, it's not mine. Meg lent it to me."
"Hm... you're right."
"I might be right but this is so wrong."
"Pfff! This is crap. You know what?"
"What, Dan?"
"This is a fad. It's just a fad, Zack. If 4K was so good, they'd shoot House with it, right? And what, all these cinemas are going to go to 4K only a few years after going 2K? When nobody can tell the difference? Get real. It's just a stunt. People are so gullible. You know that."
"Well..."
"Think about it! Everything is 2K these days. Projecting them in 4K is going to like magically make them 4K? And who edits in 4K? Nobody makes a 4K monitor. Or a TV. And no DSLR is 4K."
"But some films were shot in 4K recently."
"Which films?"
"Contagion. The Social Network."
"So?"
"What do you mean, "So"?"
"How do you think they're delivered?"
"Well -"
"They're delivered in 2K. Do you you know why they're delivered in 2K? Because 2K is the standard. 2K is enough. For you. For me. For everybody. It's set, Zack. Rock solid. It's backed by a billion-dollar industry. And so, what, some guy, some camera collector who used to make sunglasses is going to come along and make people buy new projectors? WHEN YOU CAN'T TELL THE DIFFERENCE BETWEEN A 5D AND 4K?!"
"I know... I know... it's just showing off. But what if it catches on? Where will that leave us?"
"Okay. Who's got the depth-of-field? Canon or RED?"
"Uh... sorry dude?"
"You know. The most depth-of-field. Who's got the most depth-of-field?"
"Uh, that's least depth-of-field, not -"
"Never mind! You know what I mean."
"Canon. All the way. And Nikon next year."
"Yes. Thank you. If REDs are so good, why aren't they full-frame?"
"I know, man. I know."
"Where's their DSLR?"
"Nowhere. Nada."
"Exactly. If you want the cinematic look, where do you go, man?"
"Canon!"
"Yeah, man, Canon! High five!"
"Woo! Yeah..."
"And if 4K is sooooo good, why did Canon blow millions of dollars on a pro-grade 2K rig? Believe me, Zack. Nobody's going 4K except a bunch of rich guys who like over-priced garbage just 'cos it's expensive. They should so be using that money for charity instead."
 
Congratulations Jim... And thank you very much for empowering your troops to not only make the cameras/code/color science/endless list of huge hurdles to scale... But I would especially like to extend my profound thanks to your Bomb Squad/Sniper Corp-Nate Heartt, Justin Jones, Sean Ruggeri and Travis Sims. Their hard work in the trenches, intelligent client communications and acting as conduit to Uber brains like Deanan/Rob benefitted every single RED owner in world. You guys are the tip of the spear... Thank you!
 
It will be interesting to compare the look of this new "sensored" version to the original 2009 "filmed" version.
 
I worked on the junket for this movie... Was very fortunate to spend some time talking to David about the Social Network and GWDT... Its always great to see a director just "get it". Was very surprised to hear David say that the entire film was shot at f1.3 wide open at all times. He said he wanted to capture the cinematic feel as good as he can!

I mentioned I was buying a Scarlet and his exact words were "great camera" So... That certainly reassured my purchase :)
 
I went out to an advanced screening of THE GIRL WITH THE DRAGON TATTOO at an Edwards here in Houston that was showing it on a 4k projector in 4k. Forgot that I had my cell phone in my pocket and by the time I went to the car and got back, the theater was full :(
 
There are only a few 4K projectors here in San Diego that I know of... I wish the theaters would make it a little more clear what resolution the films are projected in, or else I risk wasting the time of a 16 year old theatre employee who has no idea what 4K even is.
 
Hi Peter,

Every vfx shot was rendered at 4352x2176. There are about 1100 vfx not including splits and stabilizes. Also the movie is about 70-30 MX to Epic, since the Epic was released during production.

-Ian
 
4K for 4K

4K for 4K

Peter Lyons Collister said:
Cioni, How were the VFX rendered? In 4K or 2K uprezed to 4K?

Peter
Click to expand...



As Ian said, GDT is, in fact, 4K for 4K. Even the end credit scroll is in 4K!

The credit to achieving a project of this scale goes to a number of massively talented people, namely the most technically savvy post supervisor I've ever known, Peter Mavromates, and the most technically savvy assistant editor, Tyler Nelson. But at the helm of an amazing team is a director who has the vision and knowledge as to why 4K is an important and worthwhile step in cinema, which it is.

On a technical scale, the data footprint of this film was probably in the neighborhood of 55 terabytes of total storage for the DI alone. While that's a lot of data to move around, I want to be clear that tools we have today are finally ready to take on the challenges of 4K finishing and distribution in 2012 for many more projects. And the best part (at least to me) is that the tools required to make this movie have gotten smaller, simpler and more available.

The main components of this post task were honestly satisfied by very few tools:
2x MacPro 12core
2x Quantel Pablo's (with 4K storage)
2x Christie CP2000's
1x Barco 4K
1x Dolby PRM4200
2x DVS Clipster's (with 4K storage)
12x SAS drives for sneakernet & shuttle
After Effects, Nuke & Final Cut Pro 7

While I realize most of these tools cannot be purchased at your local Apple Store, that is not the point. The point worth consideration is that the infrastructure for 4K end-to-end projects has been reduced to an incredibly small footprint, which has a significant affect on price, infrastructure, size of business, type of operator, limitation on project size and overall creative democratization potential. For those of you who have been down the 2K distribution path since the mid 1990's, the above list represents a massively positive step in evolving creative democratization. And even if you do not have access to all these systems, don't assume I'm suggesting 4K is out of reach! The best part of RED's 4K and 5K pipeline is that it's the most scaleable system of its kind. You don't need Pablo's and Clipster's to finish and release a 9-reel 4K world-wide feature film. You only need them if you want it to happen fast.

The reason this is very important is because it lowers the gravitational pull that technology has on projects. Too often the technology can get in the way of the creativity. I personally love technology but get concerned when it becomes center-stage. So what I look forward to in 2012 is seeing how technology continues to create room for creative opportunities to flourish. While the tools are more and more available, it means talent (in this specific case; post talent) can break new ground and manipulate images in new ways that benefit audiences of today and audiences of the future.
m
 
I'm hunting down a theater to see GWTDT in 4k. I've never seen 4k projection before. Can't wait!
 
Regal cinemas have altered the opening roller coaster ride to include "4k Digital Cinema" at the end on screens that are 4k.
 
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