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The Hobbit Archive - CINEGEARBLOG.COM

Tag Archive: The Hobbit


Jim Jannard wrote something about the relationship between Hollywood directors and RED cameras:

David Fincher said “I choose RED over film” and is shooting “The Girl with the Dragon Tattoo” on RED. Peter Jackson said “RED looks like 65mm film”… and is shooting “The Hobbit” on EPICs. John Schwartzman is shooting “The Amazing Spider-man” on EPICs in 3D. Dariusz Wolski shot “Pirates 4” on RED and chose RED again for Ridley Scott’s “Prometheus”. “The Social Network” was given an Academy nomination for Best Cinematography. Steven Soderbergh has chosen RED for 6 straight films. “Jack the Giant Killer” and “Underworld 4” are currently shooting RED.

These guys have shot film most of their careers and have done side by side testing of all the latest digital offerings. Yet they are now shooting RED. What is it that they know?

Forget the story, actors, set design, wardrobe, and makeup for a minute. What they know is what an image should look like. None of these guys will compromise the image for anything… their reputation and finished product depends on the best image they cam make.

So… why RED? They all have the budget to shoot anything they want. What do they know that us mortals don’t?

1. They understand dynamic range, resolution… and “feel” of an image. All matter in combination.

2. They understand that their final product is headed for the “big screen”. What resolution might be “good enough” for a 42″ screen today may not be good enough for a 40′ screen. And what is good enough for today’s home theater may quickly change.

3. They have figured out the best way to get the best results from RED footage… more on this below.

4. They appreciate the value of on set feedback and have a good “hourlies” workflow.

5. They understand the value of shooting RAW and the flexibility it gives them for a final grade.

6. They understand lighting and how that effects the final image. Lighting… what separates the men from the boys.

So how do they get the very best image from RED?

They stay in REDCODE RAW as long as possible. Whether you use REDCINE-X or Pablo, stay in REDCODE RAW until the very end. Don’t make DPX files 1st and then grade. Limiting the color space, range and white balance right off the bat is not a good thing. Don’t do it. This is true if the final output is a DCP package or a film print. For VFX… use Log space and 16 bit EXRs. The very LAST thing you should do for a DCP output is make DPX files.

The pros know how to light and expose. If you have aspirations to make great images… learn these two thing 1st. There is no longer an excuse to blame the equipment. Too many great looking features have been Shot on RED. If your stuff doesn’t look right, you are doing something wrong. Ask for help.

We are proud of the big projects being shot on RED… the biggest projects actually. We are just as proud to be able to put RED in the hands of may aspiring cinematographers. We are here to help you learn the craft. There is no mystery… just hard work and a lot of info to be learned.

Now… back to the story, actors, set design, wardrobe and makeup.

Jim

Read more at REDUSER.net

Watch it now on Peter Jacksons Facebook site.

Follow me to the video.

(You can also see some EPIC rigs) *YAY*

Peter Jackson shoots The Hobbit at 48 frames per second.

Here’s what he said:

”We are indeed shooting at the higher frame rate. The key thing to understand is that this process requires both shooting and projecting at 48 fps, rather than the usual 24 fps… So the result looks like normal speed, but the image has hugely enhanced clarity and smoothness.

Looking at 24 frames every second may seem ok… but there is often quite a lot of blur in each frame, during fast movements, and if the camera is moving around quickly, the image can judder or strobe. Shooting and projecting at 48 fps does a lot to get rid of these issues. It looks much more lifelike, and it is much easier to watch, especially in 3-D.”

It’s out! Andy Serkis who fabulous played Gollum in Peter Jackson’s Lord of the rings trilogy will serve as Second Unit Director in the production of The Hobbit. Andy Serkis will also be reprising his role as Gollum in the current production by Peter Jackson.

“I think I understand Peter’s sensibility and we have a common history of understanding Middle Earth,” Serkis told The Hollywood Reporter. “A lot of the crew from The Lord of the Rings was returning to work on The Hobbit. There is really a sense of Peter wanting people around him who totally understand the material and the work ethic.”

Read more at thehobbitblog.com.

In this article Andrew Lesnie reveals The Hobbit 3D cinematography set up.  As we posted some days ago, the production of the Hobbit had started on on March 20 in Wellington’s Stone Street Studios and on location in New Zealand.

First, the short facts:

The Hobbit is:

  • being shot on 30 RED EPIC cameras;
  • using Zeiss Ultra Primes, Master Primes and Optimo zoom lenses;
  • shooting at 47.96 frames per second;
  • using 3ality Digital rigs.

Also Jim Jannard of RED has previously revealed that the production would use its new, smaller EPIC digital cameras, which can shoot at 5K resolution and up to 120 frames per second.

Read more at if.com.au.


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