Superman

Regardless of what it is - blank scan line; underwire support or Trinitron mask lines - it interrupts the image.

I will concede that there is a huge difference between a display device with missing or gapped line "feature" and a capture device having them.

e
 
overlandfilms said:
Regardless of what it is - blank scan line; underwire support or Trinitron mask lines - it interrupts the image.

I will concede that there is a huge difference between a display device with missing or gapped line "feature" and a capture device having them.

e
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I been using these monitors for years and only in the beginning did it seem to get in the way. After you know what it is, it is mostly ignored.
 
Jay A. Kelley said:
Direct that **** off the screen!!
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:Drogar-BigGrin(DBG) I just have to find a way to work that into a conversation in the next week.

- personal note: I had a trinitron monitor for 4 years before someone told me about the lines. That was the first day I saw them. Since then they've faded back into oblivion.
 
So why do they always shoot to tape instead of onto something like a harddrive?

Another thing I don't understand; people decide to shoot digital because they will have to alter a lot of their shots (like Star Wars); but, don't they have to digitize the film anywayif they were to shoot on film instead; for it to be edited in an NLE? The only difference I see is that shooting digital prevents them from having to digitize the footage at all; while shooting on film, they have to digitize it once -- which is what they need to do anyway for editing. So I don't understand how a movie with more intensive CG effects requires to be shot digitally; what's the advantage?
 
You do not have to "Process" or "transfer" the film, you do have to digitize the tape, but that can be done in house and be logged as you go as well. It is a much simpler workflow than film.
 
Also, matching grain levels between film material and CG elements is nearly impossible, while the High-definition source would typically be virtually grain-less, and then it would blend much better with CG elements, and then when transferring the composited image to film, you will gain an even level of film grain across the image as if it was all shot through the same film camera. That is quite an advantage!

However, I'm not so much into digital projection in cinema theaters. It seems the same movie, projected in film feels more compelling and interesting than the same exact movie, when projected digitally. I've been in a test screening and watched several examples, and that is my (startling and confusing) conclusion. Anyway, shooting HD for a visual FX heavy project makes a lot of sense and presents advantages both in work-flow and the end result of blending live action with CG elements.
 
I'm just guessing here but probably a large reason why they record to tape instead of HD is because A) they're going to backup to tape eventually anyway and B) It costs a lot less per gigabyte to record to tape.
 
The colors look amazing in that film, but whoever was responsible for the web compression needs to be fired.
 
I think that the closeup skintones in the Uberman trailers look waxy and unnatural. I hope the movie looks better.
 
goldyprog said:
Does anyone know of other projects (movies, commercials, music videos?) that have also been shot with the Genesis?
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In addition to those already mentioned:

Feature Films

Grind House (dir: Tarantino & Rodriguez, DP: Rodriguez)
Empty City (dir: Mike Binder, DP: Russ Alsobrook)
A Tiger's Tale (dir: John Boorman, DP: Seamus Deasy)
Deja Vu (dir: Tony Scott, DP: Paul Cameron)
Next (dir: Lee Tamahori, DP: David Tatersall)
The Lookout (dir: Scott Frank, DP: Alar Kivilo)
Thre Ferryman (dir: Chris Graham, DP: Aaron Morton)
La Maison Du Bonheur (dir: Dany Boon, DP: Jean-Marie Dreujou)

TV

What About Brian? (DP: Russ Alsobrook)
The Night Stalker (DPs: Bob Primes, Rick Maguire, Sandy Sissel)
Conviction (DPs: Ernie Holzman, John Thomas)
Faceless (DPs: Mauro Fiore)
In Case of Emergency (DP: Victor Hammer)
Brothers & Sisters (DP: Tom Yatsko)
52 Fights (DP: David Hennings)
Protege: (DP: Adam Sliwinski)

And David Fincher and Harris Savides went 4:4:4 uncompressed tapeless for Zodiac, which shot with the Viper, direct to hard drives. The movie's being cut on Final Cut Pro. Great article on the shooting and workflow here:

http://www.showreel.org/memberarea/article.php?174
 
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Yeah Mann is really pushing digital and obviously is open to new tools.. its going to be very interesting how the "upper" class of Directors and DP's embrace Red.
 
I think the fact that you can actually own Red and taylor it to your needs is a revolution in itself. I'm not sure what affect it will have on the ARRI's and Panavisions, but it'll definitely shake up the whole renting paradigm.
 
"what affect it will have on the ARRI's and Panavisions"

you can only rent panavision ..not sure what Arri is doing about their digital cinema camera rent or sell ?? BUT as you may know Panavision also rents some Arri's known as Pan-Arri's so i would expect to see some Pan-Reds .. these would be modified REDS ? probably with panavision designed cages, lens mounts and would be able to accept all panavision accessories so basically they would suppy a Panavision RED Camera system to a production and it would not be cheap... remember Panavision and other large camera rental houses supply equipment and SERVICE !! the service is very important ...

Panavision/Arri supplys camera SYSTEMS to hollywood ..and hollywood pays what ever price to rent them ... IMO RED will immediately be used in SFX houses in hollywood then indies, music video's , commercials ...
then i would guess if Panivision does a Pan-Red it would go into high $$$$ features quicker then if there wasn't a Pan-red .... i would also expect to see many RED's out as B/C camera's before it moves into A camera ....
 
Yeah, but I can't see the justification in renting a Pana-Red for its accessories, especially when third party companies and Red itself can offer alternatives to own. I could see people hiring DP's based on their work and their Red kit.

Or studios could even buy Reds and have their own camera divisions instead of renting, save a bundle of money right there by buying Red kits and funneling the rental money back into production. Hmm...
 
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