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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 :)

"TimeScapes" and Light Iron

Tom Lowe said:
We put 100 tickets up for sale today online, and they sold out in a few hours. So no more tix left for Vegas.

But I'm working on arranging some screenings soon in LA, SF and NYC, at a minimum, all in 4K.
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Maybe Seattle? At Paul Allen's Cinerama? One can hope! Either way...looking forward to the blu-ray!
 
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Another fantastic day at LI. I continue to be amazed at what Ian is able to pull out of these 14-bit RAW Red and Canon files in a 16-bit environment. Ian himself seems surprised by some of the stuff he's been able to pull off in these shots.

Working at Light Iron also seems to come with some side benefits, in that I keep meeting all kinds of incredible people there. Today, I got a chance to meet and talk briefly with one of my writing heroes, Randall Wallace (Braveheart). Mr. Wallace actually visited us in theater #2 and watched the first 10 minutes of "TimeScapes"... what an honor!!! :blush:
 
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He is the definition of a gentleman and a scholar.
 
Tom Lowe said:
We put 100 tickets up for sale today online, and they sold out in a few hours. So no more tix left for Vegas.

But I'm working on arranging some screenings soon in LA, SF and NYC, at a minimum, all in 4K.
Click to expand...
Tom, if you hit the East Coast and screen this in 4K I don't want to miss that. I will bring my entourage with me as well. I will keep an eye on your site for upcoming screenings. Good luck in Vegas!
 
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Today we moved into Light Iron's ultra-epic 4K DI theater. This facility is the very definition of baller status -- a 30-seat private color/DI theater with Pablo system and both a Christie 2K and a Barco 4K projector! Ian and I started the day by watching parts of "TimeScapes" in 4K on the Barco (photo above). All I can say is, after finally getting a chance to watch this footage I worked so hard to acquire over the last 2 years in 4K resolution.... it all was worth it!!!!!!!!!!!!! Seeing this footage at 4K was a revelation!!! So beautiful, so stunning. I never want to look at my footage ever again at 1080p, only at 4K.

Ian and I had our most productive day yet, really drilling down on looks for the many "dark skies" astrotimelapse sequences in the film, and putting the finishing touches on some of the marque Red shots. Hopefully once all this is done Ian can drop by this thread again and talk a bit more about his process of dealing with the R3D files -- including how he debayed and imported the shots into the Pablo at 16 bit. I believe he's been using Redcolor3.

One little sidenote. Now that I am really getting a look at these shots at 4K, I am understanding more and more the importance of good glass. Think the difference between an Ultra Prime and a Master Prime is negligible? Think again! At 4K, you can really see it. If you plan to finish at 4K, stick to Master Primes and Leica Summilux-C.
 
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Good to hear Tom. Every time I shoot with still glass I secretly know that I should have robbed a bank for some quality cinema glass. I was just fondling some Master Primes today with a secret dark desire for them.

Might be cool to interview Ian about the DI process for the behind the scenes!
 
Good idea, Phil, regarding the Ian interview.

In terms of still glass, there are some exceptions. The stuff I shot on the new Canon 70-200 is sharp as hell. We also pixel peeped a shot at 4K from the Canon 50mm 1.2, which held up well. I also assume that the Nikon 70-200 and the Nikon 14-24 would hold up well at 4K. Basically "next generation" stills glass.
 
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This was the first shot I ever, ever rolled on the Epic, down at Salton Sea. And it made final cut!

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Ian is looking strictly at the red channel here.

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Here Ian is referencing color between two shots.
 
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Here is Ian at the controls of the Starship Light Iron, about to blast off into space. :biggrin:

We finished the DI today. Great success! The picture is looking fantastic!

Curt Morgan from Brainfarm dropped by this evening and became the first person outside of production to see the film. His reaction was very, very positive. Also Sean O'Grady who produced the recent BIG SUR film that David Mullen and I worked on joined us as well, and seemed equally thrilled with the film. So these are very good signs!
 
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Congrats Tom!!

Yeah great people at Light Iron, Michael Cioni made me fill the same when I first approach them about doing the post for my first 3D film, they were not in their new fabulous facility yet, but just the same they are extremely professional people and very down to hearth, make you fill right at home.

Look forward to get my Blue Ray copy buddy... ;)
 
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