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Reuel Gomez

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Posts posted by Reuel Gomez

    Will digital ever be as good as film

    in General Discussion

    Posted

    Yeah, I don't see the problem with the grading in MOS, it's a style, it's got many breathtaking moments (Clark floating in the ocean with the whales, the whole sequence from Clark's rescue of the bus to Pa Kent showing young Clark the ship he arrived in, in the barnyard, etc, etc). The texture is beautiful.

    I wholeheartedly agree, and not just because it's a superhero movie and I just so happen to love superhero movies (and hope to one day direct one if I'm lucky) but because Zack Snyder and Amir Mokri and co. did something DIFFERENT with the visual look of this film. As far as I can remember, this is the first ENTIRELY handheld superhero film (not counting green screen and maybe a handful of crane shots) Mokri also chose to shoot with one stock (IMDB lists the film as having used Vision3 5219) and mostly with a 100mm lens (which considering it was anamorphic is more like a spherical 50mm)

    Will digital ever be as good as film

    in General Discussion

    Posted

    Man of Steel was graded so aggressively it might as well have been shot digitally.

    It was graded that way because the filmmakers wanted the colors to be very muted. It wouldn't have achieved the same effect had they kept the colors normal looking or over saturated them. You can still tell it's film by the grain and of course the lack of clipping in the highlights as per usual.

    Bumpy road for features and new DP's ahead.

    in General Discussion

    Posted

    I know you were Freya ;)

     

    As for Dps and directors and the like-- I don't know. I don't think there is such a thing as a "first time" Dp, in as much as there are very few who their first time picking up a camera make something noteworthy, though I am sure someone could cite examples.

     

    That all said, I do believe there is still some goodness, some loyalty left. Sure, it's probably exceedingly rare, and difficult to fight for-- but when it exists, it's wonderful. That said, when it doesn't, or can't, I would never fault any director I have ever worked with for doing whatever is necessary or they deem appropriate to get their film done. Sure, I'd be, and have felt, very hurt and confused and worried when a director I have worked with goes on to another DoP. Who wouldn't? But then again who wouldn't do what is best, what is necessary to get their next film made? To expand themselves? To work with people whom they really respect and whose work they have cherished or been moved by?

     

    Is the road bumpy? No. Because there is no road, no path. we are all lost in the night, fumbling with our hands outstretched during an earthquake; grasping for whatever seems solid when we can find it. The thing is though-- as time goes, eyes adjust and the earth settles.

    This post made me cry.

    Is it time to go 4k?

    in General Discussion

    Posted

    This begs the question, if $150M+ productions aren't uniformly or even predominantly finishing in 4K why is the prosumer, regional or independent being sold so hard on it?

    Because they are more gullible to marketing, unlike most professionals in the film industry who test and work with the real thing first to know the difference.
    • Upvote 1

    Targeting the bootleggers, great news!

    in General Discussion

    Posted · Edited by Reuel Gomez

    True, the majority don't, the argument can be made that people sometimes pirate indie films due to a lack of access to actually view them. Indie films often suffer from poor distribution. Hal Hartley, when asked about fans uploading Trust to Youtube said "I don't care about pirating. I care about quality" Meaning he didn't want fans to see the film in poor resolution etc. Of course he'd prefer people buy the film but at the time he couldn't even sell it to them. The main reason it was uploaded was cause the company that owned the film wouldn't sell him back the rights to distribute and it was out of print. So even the filmmaker couldn't get it out to an american audience.

     

    There are other cases like that where the standard distribution model fails the filmmaker because of companies going under licenses changing hands or netflix etc refusing to stream the actual unedited version of an out of print movie that fans want to see etc. Political censorship in some countries etc.

     

    I agree with Mark that we need an app like distribution model. I can stream Gravity over Amazon for $4,99 That's more than it would have cost me to rent it from Blockbuster back in the day. The pricing for digital streaming is all wrong and definitely part of the problem.

    Call me old school but that's why I still rent physical copies from Redbox

    Targeting the bootleggers, great news!

    in General Discussion

    Posted

    Reuel, sorry, but that is a silly silly argument.

     

    And what about independent producers who make films that never get a theatrical release? DVD sales are critical to the recoupment in every case. These are the films that 90% of the people on this forum work on! We only have 2-3 people here that work on movies like....The Avengers with any regularity.

     

    R,

    Now that I can understand. But the majority of people don't download indie films.

    RoboCop remake

    in On Screen / Reviews & Observations

    Posted · Edited by Reuel Gomez

    He shot the RoboVision POV stuff using Epics in anamorphic, to create a style difference from the regular part of the pic shot on Alexa in spherical (he had always wanted to shoot the POV stuff with Epic, but had intended to shoot film for the rest, but logistics made them go with Alexa, as they'd've had to ship the film away to get processed.)

     

    I've got an article on it for HD VIDEO PRO, but they haven't put it up online yet and I'm not sure when the print issues ships.

    If he had shot on film, would he have shot Super 35 or Anamorphic?

    RoboCop remake

    in On Screen / Reviews & Observations

    Posted

    He shot the RoboVision POV stuff using Epics in anamorphic, to create a style difference from the regular part of the pic shot on Alexa in spherical (he had always wanted to shoot the POV stuff with Epic, but had intended to shoot film for the rest, but logistics made them go with Alexa, as they'd've had to ship the film away to get processed.) If he had shot on film, would he have shot Super 35 or Anamorphic?

     

    I've got an article on it for HD VIDEO PRO, but they haven't put it up online yet and I'm not sure when the print issues ships.

    RoboCop remake

    in On Screen / Reviews & Observations

    Posted

    I loved it. Makes me want to see the original. I know, I know. "How did you not see the original?" Well, my local FYE isn't the best with keeping up with older films that aren't Terminator or Titanic. Did they actually use anamorphic lenses for the few shots in this film that feature anamorphic flares? I know the movie was shot mostly on the Arri Alexa with spherical Primos but while I know you shouldn't always trust them, iMDB says that they used G-Series lenses on one of the shots that used Epic.

    A depressing outlook.

    in General Discussion

    Posted

    I've never worked with either film or digital cinema cameras or really any piece of professional filmmaking equipment of any kind, but in my personal opinion, there should always be an analog, physical say to capture and store picture and sound. Because while it can be easily destroyed, it can't be deleted or corrupted. If poorly kept it can become damaged and unusable, but it wont glitch and break down. The preservation of analog mediums while in storage is dependent on US. If we store it correctly and use the right procedures from keeping anything bad from happening to it, it will survive. But digital mediums have a life of their own. And one glitch or one press of a key and your movie is gone for good.

    • Upvote 1
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