"Wanted" Cinema release is RED-less?

[Luke Haywood]

Have I got this correct?

In this post: http://www.reduser.net/forum/showpost.php?...mp;postcount=32

Jim Jannard appears to be saying that no actual RED footage was incorporated into the final cut of "Wanted"

 

An excerpt:

RED was on the "Wanted" set last summer to "see how it would do". The RED ONE prototype (several months before our 1st shipment) was shot sparingly but in several different setups. Everyone seemed very happy with the footage. In fact, Timur bought a RED camera (and paid for it and took delivery when his number came up). So did Jon Farhat (VFX supervisor). At that time the workflow was not smooth with their Avid system and I suspect that integrating some token RED footage would have been a courtesy they did not have time for. This is entirely speculation on my part. Maybe they couldn't find an appropriate "add film grain" filter? :-)

 

So over a period of months we've gone from "Shot on RED" to "Parts Shot on RED" to "Parts Shot on RED but not actually used"!

 

I was going to go see Wanted in the cinema, (even though it sounds like a pretty stupid movie, maybe worthy of DVD rental after it stops being a "latest release") just to see how the RED scrubs up on the big screen.

 

But I guess I'll save my ticket momey for something else.

 

Does anybody know what the first All-RED cab off the rank is likely to be, that is likley to be playing in my local cinema?

[Max Jacoby]

I'm not surprised, because in this month's ICG magazine article there was no mention of Red either, just good old 35mm.

[Keith Walters]

Does anybody know what the first All-RED cab off the rank is likely to be, that is likley to be playing in my local cinema?

I'm still waiting for someone to tell me what all these RED-shot commercials are that are currently being shown on Australian TV. To listen to people on Reduser (and here to a certain extent) you would think there must be hundreds of them. All I hear are crickets chirruping.

[Peter Moretti]

Red inked exclusivity agreements with Apple and Assimilate, effectively boxing out Avid's MC and DS for FCP and SCRATCH. The camera may take very nice digital pictures, but it does not integrate well with Avid. But obviously, most features are still cut and finished on Avid.

 

Giving the most ubiquitous editing and finishing systems (MC, Symphony, DS) the Hesiman has really hurt Red in the short-term. Of course how quickly Avid would have adopted .R3D files is another matter. "New Thinking" and all, Avid is painfully slow to integrate new formats. IMHO, the agreements struck between Red and Avid's competitors provide excellent cover under which Avid can hide.

 

BTW, the agreements are coming to term. Red will be releasing an SDK; then it SHOULD be an open game for any and all.

[Shawn Booth]

This was posted today by Jim concerning "Wanted":

 

http://www.reduser.net/forum/showthread.php?t=15572

 

"There seems to be some confusion about RED on "Wanted" even though I posted the following a couple of weeks ago.

 

During production, we were told that some RED footage (from pre-production prototypes) would be used in the movie so we added "Wanted" to "Shot on RED" on red.com. As soon as we heard that would not be the case, we pulled "Wanted" from our website. It is not necessary for us to take credit for things we aren't doing. We have plenty of good news to talk about.

 

This is my earlier post:

 

"RED was on the "Wanted" set last summer to "see how it would do". The RED ONE prototype (several months before our 1st shipment) was shot sparingly but in several different setups. Everyone seemed very happy with the footage. In fact, Timur bought a RED camera (and paid for it and took delivery when his number came up). So did Jon Farhat (VFX supervisor). At that time the workflow was not smooth with their Avid system and I suspect that integrating some token RED footage would have been a courtesy they did not have time for. This is entirely speculation on my part. Maybe they couldn't find an appropriate "add film grain" filter? :-)

 

I am anxious to see the movie. It looked like it would be very interesting. They had a great DP (Mitch Amundsen), great talent and Timur has a very unusual vision that I think will translate wonderfully to the final cut. We had a terrific time learning on this set and the 1st AC (Todd Schlopy) gave us tremendous guidance on setting our camera up and features we needed to add.

 

We looked at this movie as an opportunity to learn and prove that the footage could stand up next to film. I think everyone on the set will agree we succeeded. Several members of the "Wanted" crew, in addition to Timur and Farhat, ordered cameras."

 

I would also add that at one point during the production, Jon Farhat did a filmout comparison between RED footage and the film footage. According to Jon, no one could tell which was which... until Chunky Richmond noticed the aspect ratio difference."

[John Sprung]

But obviously, most features are still cut and finished on Avid.

I went through the transition 20+ years ago from film to the tape-centric Ediflex and Avid. The transition to the file-centric Final Cut doesn't look like anywhere near the hurdle that that was.

 

 

 

-- J.S.

[Brad Grimmett]

I would also add that at one point during the production, Jon Farhat did a filmout comparison between RED footage and the film footage. According to Jon, no one could tell which was which

I guess somebody must have finally figured it out, otherwise they might have accidentally put some of the Red footage in the movie.