Is SPIDER-MAN Going To Be Shot With The New RED EPICs?? And The RED ONE Intercuts Well With Anamorphic Film!!
Very interesting news from the RedUser forums (a user group for the RED camera system) - John Schwartzman (THE GREEN HORNET, PEARL HARBOUR, ARMAGEDDON) commented on how well the RED ONE cameras intercut with film! Then dropped a hint about SPIDER-MAN? Read on!
Schwartzman on the RED ONE MX Camera: "I recently concluded my first shoot using the RED ONE MX camera, or rather a pair of them because I was doing reshoots for a film in 3D that I originally shot on film in 2D using anamorphic lenses. I consider anamorphic film the "gold standard" for cinema. The film was "The Green Hornet" which is currently in the process of being converted to 3D, at the time of the reshoots the option for shooting film and converting the new scenes was not an option due to the time constraints of conversion, the vendors are working 24 hours a day just to do the work they were contracted for and adding to their plate was not an option. The dilemma for me was how was a going to find a digital camera that had enough resolution to intercut with anamorphic film, I tested every system, The Arri Alexa, 12 bit F35, RED ONE MX and anamorphic film at the same time, based on this test I chose the RED ONE MX because it had incredible resolution, both the Alexa and the F35 didn't hold up well in 2:40. 2 weeks ago I finished timing the DI with Stefan Sonnenfeld at Co3, in addition to 2 new scenes, there were 4 scenes in which the RED ONE data was intercut with existing Anamorphic film, I was amazed at how transparent the match was, Stefan did a great job and actually we added grain to the MX data to match the film. I would venture to guess that the only way anyone will be able to tell the difference between the film and the MX data is not in the image quality but in field of view differences between shooting flat vs scope. As a die hard film user I must say I have been blown away by the image quality of the MX, it doesn't have the same dynamic range in the highlights as film but I believe with EPIC and HDRx™ it will."
Schwartzman used 3ality Digital S3D rigs for THE GREEN HORNET.
Schwartzman on the new 5K RED EPIC: "I have been part of a very select group of DP's that have actually shot with the EPIC and I can tell that the 3lb 5K camera is a game changer, end of story, game over, pick your cliche'. I will tell you this I have shot more tests on the EPIC than probably any other DP other than my mate Andrew Lesnie who is doing the "Hobbit", we skype daily about how this camera blows our mutual minds, when you see these image projected at 4K it's like looking a vistavision."
Jim Jannard - founder of RED had this to say about John's statements: "We got in this business to create a worthy film alternative/replacement camera. The fact that John has cut seamlessly between the two is pretty good evidence that we are on the right track."
And for SPIDER-MAN fans, Schwartzman is Director of Photography for the Sony reboot and have this little nugget to say toward the end of his comments: "Thanks for taking me under your wing, I think we are on the cutting edge of doing something amazing together and I think you've got a great eye and even a better bedside manner, the next 6 months are going to be fun!"
Six months as in SPIDER-MAN production? With RED EPICS in stereoscopic 3D formation (ala Peter Jackson)? Oh man, I hope so! We shall soon find out. In the meantime, I dream about the day I can get my hands on one of these cutting edge cameras from RED. Near term it seems like the Canon T2i or even the Panasonic GH2 are more feasible for me.
More when I get it! Thanks for the heads up Mark!
