Fox's "24" incorporates 5D Mark II into principal photography

subtleinspiration said:
I watched The Bank Job last night on Blu-Ray and I was blown away but how great it looked (shot on an Arri). I then went a watched a bunch of HDSLR videos, and they are just so soft in their image quality.

It's the shallow DOF, period. That's the only reason these cameras are getting the attention they do. It's great that people will have to start learning lenses and manual camera operation, but they're not here yet if you think your project deserves the best image quality-wise.

And besides, with the style that 24 is shot in, the codec would break down and be crying for mercy within mere seconds. Whip pans, quick zooms, the 5D would go all Jellovision (and worse) in a heartbeat.
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Whichever your side be, nobody can say you are not damn right! The choice on a device should be well thought before the shooting, not afterwards.
 
NextWaveG said:
A studio produced Blu-Ray movie is going to easily beat any raw footage from a camera...even RED.
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Well yes and no. You can sharpen and rerez with enhanced algorithms, but detail doesn't magically come from post. In the hands of a good colorist everything will look "nicer" though.

I've shot on Red, Genesis, F35, HVX200, 5D Mark II, EX1, etc.... and have used all of them on features.

We scan Super 35mm @ 6k on our Northlight and that's really where film's resolution seems to top out in my opinion. Red MX @ 4k is really a sight to be seen for yourself. Especially at higher ISOs. There is no clean ISO 2000 in the world of motion picture films. The Genesis also performs pretty damn well in low light scenarios. I have to do a side by side with the new Red MX and the Genesis to really see who's king of the mountain on that front, but I'm pretty sure I know the answer to that already.

That all said, I've been using the 5D Mark II for background elements and effects shots on features since late 2008 and it's worked out amazingly well. Before that I used the HVX200 on a few films and was pleasantly surprised.

On the filtered out end of the line here in this current world as consumers we are mostly at best watching material at 1080p at home and can't really see past that with affordable viewing devices. If we make it to 4k then Red and Super 35mm film will clearly be the given choice, which is exciting because you can shoot that now and be moderately "future proof".

I kind have always visioned shooting with the 5D Mark II as a mini VistaVision camera that produces results similar to outstandly shot Super 16 material.

Basically what I'm getting at is more and more working professionals will adopt new technology as long as there is some sort of visual advantage. These modern day DSLRs have proven to be compelling due to price point and flexibility. A full rig is a fraction of the cost of large cameras, hell often cheaper than the weekly rate for some systems. For independent filmmakers it's opened brand new doors. However, as artists many will stay with mediums they prefer to work with, whatever format that ends up being. Some just don't have the luxury to shoot daily with a system they prefer.

Rodney is definitely a forward thinking cinematographer and I commend him for being so flexible and willing to experiment with new tools.

On top of that rant though. Well shot VistaVision and 65mm footage is still king of the mountain in terms of pure "resolution". Which is why I'm pretty damn excited about the idea behind a FF35 Epic from Red. But that's the future talking and until tomorrow happens I'll be happy with what we got today.
 
Phil Holland said:
Which is why I'm pretty damn excited about the idea behind a FF35 Epic from Red. But that's the future talking and until tomorrow happens I'll be happy with what we got today.
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Nicely put.

On a side note, Phil, I checked your site. Some beautiful stuff, thanks!

Cheers,
Sam.
 
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