The Studios and Red

There's a good amount of information about Mel Gibson choosing the Genesis for Apocalypto in this article. Mainstream, established DPs are quickly warming-up to the digital process.

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http://www.movieweb.com/news/62/15262.php

A bit more from another more technical article on the Genesis decision. "...[Dean] Semler took Gibson to Panavision's screening room to eyeball early comparative test footage shot on both film and the new Genesis digital camera projected out to film. Neither the director nor the director of photography could tell what was shot on film versus tape, the cinematographer recalls."

Of Genesis, and DC in more general terms, Mr. Newton Thomas Sigel (Superman Returns; Three Kings; Towelhead) said in a recent CinemaTech article, "... if I was starting another movie today, I’d probably be more likely to shoot the Genesis than shoot film. Since this is the direction it's going, I’d like to work on making digital image capture the best it can be. For future projects, I’d ask, 'Is there any reason to shoot this on film?' But I’m not quite sure what the reason would be."

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I was wondering where the geared head was in that shot, especially with that telephoto lens. Can't quite make it out, but it appears to be the 9.5 - 105mm Primo Digital Series T1.6 zoom (about 20 lbs. give or take). It's spherical, but looks like there's an extender up front... hmm.

That's a lot of glass, whatever it is.

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The Genesis must have a hell of a front end to hold that lens without a lens support. The head must be a 2060 or 2575?
 
Genesis, like all their cameras has the robust Panavision mount. There is another set of rods running to the swing-away mattebox, but that doesn't take much of the weight.

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acehole111 said:
My biggest fear is that I'll be going to the Cinema to watch TV.
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Hi,

In Switzerland all cinema adverts are shown from a video projector. The highest quality you can deliver is digibeta!

Going to the cinema and seeing local TV advertisements, that is very sad!

Stephen
 
we have that here to in america Stephen.. low quality TV ads in some cinemas being played at 480 from a consumer projector .. pretty sad, but there was a time there theaters had to restructure to stay alive, and selling local TV spots was a way to help.
 
One of the multiplex's up here is at least showing the TV stuff off a hd projector, it's still 60i but at least its better then ^^^
 
Stephen Williams said:
Hi,

The lens has a mid support attached to the side matte bars.

Stephen
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I'm not familiar with that type of rig, use to the traditional video baseplate rail system.
How are the rails and weight of the lens supported? Is the rail mount back on the side of camera, lens or part of a tripod mount?

Do you have any links showing a similar mount in action?
 
Thanks a lot for that link. Can see how the XL body design migrated over to the Genesis. What do you call the mounting arm/prong/tree? some clever engineering going on there.
 
It's just called the iris rod bracket for lack of a better term. There is actually some functionality though - this one bracket holds:

12 and 24vDC taps
Monitor Bracket Clamp
Ready-plug for future electronics

Like everything Panavision does, this is super-cool. It powers upon attachment to the main camera body - no cables required to get it powered. On the side, there's a dovetail which is designed to support the ever-helpful PanaLite with composite video out.

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I was thinking of having powered rails.. You can attach the battery to the rail and it becomes a bus bar. The bar could have a slot in it with two electrodes along the length. Then just attach a device anywhere on the bar to get power. Might be a cool concept.
 
i saw someone at clairmont try powered bars almost a decade ago.. putting low voltage down each rail so each rail was live. It appeared to be a crapload of work and im not sure on how that reacts with interference. I cant even remember what the guy was powering.. but the concept of it all was pretty cool.
 
Funny, that. At the end of the day, how much do we really need to power from one end of the camera to the other?

Zoom Motor / Zoom Controller
On-board Light
Video Asst.
External Mag / HD (should be done through a shoe, really)
Zoom / Focus Mark Confidence Camera
Espresso Dispenser
Cup Warmer
Frothing Apparatus
Camera Heater (see also Cup Warmer)
Automatic French Flag Opener by the makers of P2Genie
Carbon Fibre Buffer / Polisher
Heated Viewfinder...

Okay, it's time for some PhotoShop action! Who can best over-accessorize RED or your favorite camera? Should be a contest in this somehow.

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DrizztG said:
I don't think the issue is the studios getting acclimated to using Red cameras.

Studios have to get acclimated to shooting and releasing their movies in digital. Every digital cinema camera company are in the same basket.

Releasing in digital is going to be hard, but like you said more and more movies are being shot digitally.
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It's not hard at all, finish your film in 720p or higher res, make .tga files and ship them with your audio on a BestBuy USB Hard disk 400gig to the MXF house for the final DLP cinema spec encoding!


I just did it. not hard at all. and btw it looks great in the theaters in DLP from a 720p master
 
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