andy lee

I thought it was a very good film , its modern and now , Bond has to move on for a 2012 audience you can always watch the old classics ones on dvd. I thought the cinematography was great and it told the story which is what its supposed to do... it drove the film forward. I watched it on a Sony 4k Projection system and I do have to say it looked stunning!

even if they threw away 1/3 of the sensor the film looked great ! put a lot of bums on seats ...as they say and thats the job done!

I agree it did look good on screen !! I was impressed with the look of the film. this does raise the issue do we really need 4k? when 2.8k upsacles well and sells cinema tickets! Bond has now done over 30 million Uk pounds in 2 weeks the best selling Bond film in the UK so far!! yeah I know what you mean we call it croppng haha [i]"which were shot “flat” and [b][u]extracted[/u][/b] from the Alexa’s 16:9 sensor.[/i]" ps Deakins says they did use the full fame for the IMAX version of the film its NOT cropped apparently might try and see that verion at the local Imax cinema

they are shipping some...slowly .... Andrew Reed got his last week cant wait to see what he thinks of it!

I good sharp modern anamorphic is what we all need ....I hope they get it working good! I can't stand old soft lenses.... thats why I use the Schender Anamorphics as they are modern stunningly sharp glass not 16mm old 1970s home cinema stuff!

FYI: Skyfall was not shot anamorphic . Roger Deakins shot it with Arri Master Primes (spherical lenses made by Zeiss) Roger Deakins quote: [i]''A widescreen 2.40:1 aspect ratio frames the images, which were shot “flat” and extracted from the Alexa’s 16:9 sensor. The lenses were ARRI Master Primes, usually focal lengths in the mid-range like 27, 32, 35 and 40mm. [url="http://www.codexdigital.com/"]Codex[/url]recorders were used with all cameras, up to about 10. Codex Datapacks were backed up on set and then sent for dailies processing.[/i]'' I think we will see more and more of this process, as film dies away and shooting anamorphic becomes a less used format , by shooting spherical digitally and cropping for 2.40:1 for release.

BMC can't make cameras fast enough right now I think a 4k BMC will be many many years away they have major issues right now with the sensors being defective ! where are they going to get a 4k sensor from - surely NOT the same suppier of their current sensor as its has caused all these delays!

this is a good read on the lenses the used [b] [i]The Master[/i]: Framed in 65mm for Maximum Visual Impact[/b] [b] [/b] Published on website: September 26, 2012 Categories: [url="http://motion.kodak.com/motion/Publications/InCamera/65mm/BlogCategory.htm"]65mm[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/Feature_Films/BlogCategory.htm"]Feature Films[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/Sections/Focus_on_Film/index.htm"]Focus On Film[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/FilmStock/VISION3_200T_Color_Negative_Film/index.htm"]VISION3 200T Color Negative Film 5213/7213[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/FilmStock/VISION3_500T_Color_Negative_Film/index.htm"]VISION3 500T Color Negative Film 5219/7219[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/FilmStock/VISION3_250D_Color_Negative_Film/index.htm"]VISION3 250D Color Negative Film 5207/7207[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/FilmStock/VISION3_50D_Color_Negative_Film/index.htm"]VISION3 50D Color Negative Film 5203/7203[/url] , [url="http://motion.kodak.com/motion/Publications/InCamera/Sections/Large_Format/index.htm"]Large Format[/url] [url="http://motion.kodak.com/motion/Publications/InCamera/The_Master_Framed_in_65mm_for_Maximum_Visual_Impact.htm#"]18[/url] [img]http://motion.kodak.com/motion/_rz/uploadedImages/Kodak/motion/InCamera/InCamera_The_Master_Header_620X0.jpg[/img] Joaquin Phoenix in The Master. © 2012 - The Weinstein Company [img]http://motion.kodak.com/motion/uploadedImages/Kodak/motion/InCamera/InCamera_The_Master3.jpg[/img] Philip Seymour Hoffman and Amy Adams in The Master. © 2012 - The Weinstein Company [img]http://motion.kodak.com/motion/uploadedImages/Kodak/motion/InCamera/InCamera_The_Master2.jpg[/img] Philip Seymour Hoffman and Joaquin Phoenix in The Master. © 2012 - The Weinstein Company [img]http://motion.kodak.com/motion/uploadedImages/Kodak/motion/InCamera/InCamera_The_Master1.jpg[/img] Paul Thomas Anderson and Joaquin Phoenix in The Master. © 2012 - The Weinstein Company Mihai Malaimare Jr. burst onto the international cinematography scene in 2005 with [i]Youth Without Youth[/i], which he shot for Francis Ford Coppola. Malaimare caught Coppola’s eye while shooting screen tests in the cameraman’s native Romania. They went on to make two more features together, 2008’s [i]Tetro[/i], a noirish black and white, and 2010’s [i]Twixt Now[/i] and [i]Sunrise[/i]. Malaimare latest collaboration [i]The Master[/i], directed by Paul Thomas Anderson is now hitting cinema screens in 70mm glory. [i]The Master[/i] has some parallels in real life, but Anderson uses the story of a charismatic healer (Philip Seymour Hoffman) and his damaged acolyte (Joaquin Phoenix) to delve into the human condition rather than to chronicle historical events. The story begins in the period following World War II. Locations included the San Francisco Bay area as well as a few locales in Hawaii and in southern California. Amy Adams and Laura Dern also star. [i]The Master[/i] was photographed on 65mm film, which results in significantly greater image area and a palpable bump in depth, clarity and emotional impact on the screen. The decision to go with the larger format was made after a long testing period. “I’m in love with still photography,” says Malaimare in explanation. “Freddie, Joaquin’s character, is working in a portrait studio. Paul had the idea to try a larger format, partly because when you think of iconic still photography from this period, you think of really shallow depth of field, the result of large format negatives, like the classic images taken with Speed Graphic 4X5 cameras. We tested VistaVision, but there were some limitations there.” The 65 and 70mm film formats have been around since before 1900, but got underway seriously as a capture and exhibition format in the 1950s, when theaters were under siege from television. In 1955, Todd-AO used a 65mm negative and 70mm-wide prints to deliver enhanced visuals (and audio) on pictures like [i]Oklahoma[/i]! Landmarks in cinematography history like [i]Lawrence of Arabia, The Sound of Music[/i], and [i]Ryan’s Daughter[/i] used later 65mm formats. Lately, the 65mm gauge has enjoyed a renaissance, as filmmakers like Christopher Nolan and Wally Pfister, ASC, BSC have used it to boost visual impact in narrative features including [i]Inception[/i], triggering upgrades in the supporting technology along the way. Ron Fricke’s latest visual poem, [i]Samsara[/i], was also filmed around the world using 65mm film. Anderson and Malaimare initially planned to shoot mainly portraits with 65 mm, about 20% of the movie. Even in situations where audiences are not seeing a 70mm print, the 65mm-originated scenes deliver breathtaking images that draw viewers into the story. “As we were looking at dailies, we saw that every 65mm shot was so amazing,” says Malaimare. “After a week or two of shooting, we switched, and ended up shooting something like 85% of the movie on 5-perf 65mm.” The 35mm cameras – Panavision Millennium XL2s – were brought out for handheld scenes, or other shots that required a dirtier look. “When your eyes are accustomed to what 65mm looks like in terms of grain and depth of field, with these amazing landscapes, switching over to a smaller negative area, you perceive the difference immediately,” says Malaimare. [b][i]To augment the “crispy” Speed Graphic look, “Panavized” Hasselblad and Schneider lenses were used with the Panavision System 65 and 65 HR film cameras. To smooth the transition between 65mm and 35mm, Malaimare used a Swiss Jena still lens converted by Panavision for use with 35mm. Dan Sasaki at Panavision also found a complete 35mm set of Zeiss Jena glass. A set of Ultra Speeds was also used with the 35mm format, depending on the situation. The aspect ratio of the movie is 1.85:1. 65mm’s native aspect ratio is 2.20:1, although 65 mm-originated images are often projected at 2.40:1. Here, Malaimare and Anderson framed for 1.85:1 in both 65mm and 35mm, sacrificing some image area on the negative but gaining a consistent frame throughout the movie.[/i][/b] Much of [i]The Master[/i] was filmed with KODAK VISION3 50D Color Negative Film 5203 and KODAK VISION3 200T Color Negative Film 5213. A few scenes were also done with KODAK VISION3 250D Color Negative Film 5207 and KODAK VISION3 500T 5219 as well. In keeping with the desire for maximum image quality, the postproduction workflow was completely photochemical, with no digital intermediate process. The 35mm material was handled at Deluxe Labs and the 65mm material was processed at FotoKem in Burbank, which is set up to handle optical reduction to 35mm for dailies and workprints. “Paul really believes in the photochemical process,” says Malaimare. “It delivers better quality. If you scan a 65mm negative, it will give you at least 8K resolution for the DI, but that is definitely expensive. Maybe it’s a matter of respect for the format. It’s about the approach you take. If you know from the beginning that you don’t want to scan, you’re more careful with the lighting and everything. With a DI, you tend to be sloppier because you know you can fix and hide things later. By using the large, low speed negative, not using any filters in from of the lens, and using these very sharp lenses, you get extremely high image quality – and you don’t want to ruin that with a scanner.” Growing up in Bucharest, Malaimare was the son of a theater actor and director. The theater’s lighting grid was the teenaged Malaimare’s playground. At age 15, he was given a camera, and his future became clear. Soon he had a darkroom and was taking photography classes after his regular studies. Today, Malaimare is focused on the cinematography of his films, because he doesn’t want to dwell on the unlikely path he’s followed to success. “I do believe things happen for a reason,” he says. “In Romania, the film school is really film training. We shot everything on film. We have two black and white film labs at the school, and very intense still photography courses. For some reason, a few months before meeting Paul, I bought a Crown Graphic 4X5 camera, one of 12 still cameras I own. We ended up using that camera as a prop on [i]The Master[/i]. I also used it to shoot The Master’s portrait with 4X5 black-and-white negative. When you have that type of training and background, and you get the opportunity to apply things you already know, maybe it is better not to think too much. It’s better to just relate to things you know and go forward.” [left] [background=rgb(255, 255, 255)]Read more: [url="http://motion.kodak.com/motion/Publications/InCamera/The_Master_Framed_in_65mm_for_Maximum_Visual_Impact.htm#ixzz2B6kEWsbI"]http://motion.kodak....m#ixzz2B6kEWsbI[/url][/background][/left]

shot on 65mm film [b] Filming[/b] Filming was to begin in August 2010 with Renner starring opposite Hoffman, but was postponed indefinitely in September 2010. In May 2011, after securing financing, the film was given the [url="http://en.wikipedia.org/wiki/Green-light"]green-light[/url] and filming began in early June 2011 in [url="http://en.wikipedia.org/wiki/Vallejo,_California"]Vallejo[/url] and [url="http://en.wikipedia.org/wiki/Sacramento,_California"]Sacramento[/url].Shooting took place on [url="http://en.wikipedia.org/wiki/Mare_Island"]Mare Island[/url] for a month using the wing of an old hospital and an empty admiral’s mansion for some scenes.In late June 2011 filming took place at [url="http://en.wikipedia.org/wiki/Hillside_Elementary_School"]Hillside Elementary School[/url] in [url="http://en.wikipedia.org/wiki/Berkeley,_California"]Berkeley[/url]. The film was shot on [url="http://en.wikipedia.org/wiki/70_mm_film"]65mm[/url] film using the [url="http://en.wikipedia.org/wiki/Super_Panavision_70#Panavision_System_65.2FSuper_70"]Panavision System 65[/url] camera.The film was the first fiction film to be shot in 65mm since [url="http://en.wikipedia.org/wiki/Kenneth_Branagh"]Kenneth Branagh[/url]'s [i][url="http://en.wikipedia.org/wiki/Hamlet_%281996_film%29"]Hamlet[/url][/i] in 1996 [url="http://en.wikipedia.org/wiki/Mihai_Malaimare_Jr."]Mihai Malaimare, Jr.[/url] served as cinematographer, making [i]The Master[/i] Anderson's first film without cinematographer [url="http://en.wikipedia.org/wiki/Robert_Elswit"]Robert Elswit[/url]. Originally, Anderson and Malaimare planned to shoot mainly portraits in 65mm, which constituted 20% of the film, but ultimately 85% of the film was shot in 65mm.The remainder of the film was shot on [url="http://en.wikipedia.org/wiki/35mm"]35mm[/url] using [url="http://en.wikipedia.org/wiki/Panavision_cameras#Panaflex_Millennium"]Panavision Millennium XL2s[/url] cameras, often used for scenes that required a "dirtier" look. Most of the [url="http://en.wikipedia.org/wiki/Film_stock"]film stocks[/url] used were [url="http://en.wikipedia.org/wiki/List_of_motion_picture_film_stocks#VISION3_color_negative_.28ECN-2_process_2007.E2.80.93present.29"]KODAK VISION3 50D Color Negative Film 5203[/url] and KODAK VISION3 200T Color Negative Film 5213 with a few scenes were also done with KODAK VISION3 250D Color Negative Film 5207 and KODAK VISION3 500T 5219 Panavision website has this [b]65MM Panaflex System 65 Studio Camera - 65SPFX[/b] The Panaflex System 65 camera was introduced in 1991 as an update to their previous cameras known as Panavision System 65 or Panavision Super 70. It uses all Panavision 65mm lenses and 65mm accessories and 400 foot or 1000 foot displacement film magazines may be top mounted to minimize camera length or rear mounted to minimize camera height. The standard color corrected optical viewfinder is one of the brightest viewfinders on a 65mm camera and features the standard Panaglow illuminated frame lines found on all Panavision cameras and it also contains a control for the brightness of the Panaglow. Viewfinders are available in short, intermediate and long configurations, allowing both studio and hand held configurations. The intermediate and long viewfinders contain an image magnifier for critical eye focus. A wide variety of ground glasses are available with any marking or combination of markings. The camera has a crystal controlled speed range of 4-36 fps forward. The camera does not run in reverse. An adjustable focal plane shutter range of 50-180 degrees, full-fitting dual registration pins with guide blocks on one side of the film and dual two-pin pull down claws make this one of the quietest film cameras in the world. Sound levels have been measured at less than 26 dB with film. A standard Panavision video tap is available for flicker free filming at all available speeds. The tap is available for both PAL and NTSC. Dual displays provide data to both sides of the camera and includes film speed, exposed footage in feet or meters and shutter angle. An annunciator panel on the side of the camera contains warning lights for low battery, illegal speed, film jam. low film and out of film. Other camera features include a switch to block light from the eyepiece, two contrast-viewing filters (0.6 and 0.9 neutral density), and built in camera body and eyepiece heaters. As with all Panavision cameras, the System 65 comes with the standard complement of accessories including 24 volt batteries, power and heater cables, System 65 Flexlight, matte box with sunshade extension, iris rod bracket, iris rods, 4.5 filter ring and lens port cover. Additional accessories are available based on the needs of the production. [b]65MM HR Spinning Mirror Reflex Camera System - 65HSSM[/b] The Panaflex 65mm HR Spinning Mirror Reflex Camera uses all [url="http://www.panavision.com/node/293"]Panavision 65mm lenses[/url] and 65mm accessories and 400 foot or 1000 foot displacement film magazines. The standard, fixed, optical viewfinder is one of the brightest viewfinders on a 65mm camera and features the standard Panaglow illuminated frame lines found on all Panavision cameras. A wide variety of ground glasses are available with any marking or combination of markings. The camera has a crystal controlled speed range of 4-72 fps forward. The camera does not run in reverse. Standard on the camera is a fixed 170 degree shutter, full-fitting dual registration pins and dual pull down claws. The camera is suitable for time lapse or time exposure cinematography. A standard Panavision video tap is available for flicker free filming at all available speeds. The tap is available for both PAL and NTSC. As with all Panavision cameras, the camera comes with the standard complement of accessories including 24 volt batteries, power cables, matte box and follow focus unit Additional accessories are available based on the needs of the production.

Canon have responded they put their prices up on 1 November on their whole DSLR range!!

while you are waiting there are a whole bunch of Red One MX's going cheap!! I cant help thinking Red have priced these knowing the BMC delivery issues.........

'Battle Tested' is Red's way of saving face and not having to say 'we are selling these off cheap! ' its all sales talk to make you think you are getting something of value..... and at $4000 it's one hell of a Hollywood hit movie camera ! a bargin now how much will the second hand Red One market drop to on ebay etc????..... $2500 ish????

now this interests me !! red one mx well cheap!!! 4.5K RED ONE M-X Battle Tested- $4000 (includes CF or SSD recording module)

this will upset the apple cart at BMC all those back orders

at this price its a better buy than a Black Magic Cinema Camera 4k for 2500 pounds!! unreal!! This is the camera that shot many Hollywood Feature Films like The Girl With The Dragon Tattoo - David Fincher etc etc If I had put my money down on a BMC and its still not delivered I would ask for a refund and get a Red One MX any day!! Red have most definately priced the RED ONE MX to steal BMC's thunder !!

now this interests me !! red one mx well cheap!!! 4.5K RED ONE M-X Battle Tested- $4000 (includes CF or SSD recording module). The RED ONE is End of Life. Battle tested is all that will be available from here on out.

new Red Prices pasted from Jim's Thread: As I said before, everything in the electronics world changes... usually for the better, cheaper and faster. EPIC and Scarlet just did. Right now. We have built an incredibly efficient factory in Irvine, California and over time learned how to make EPICs in quantity, lowered our assembly costs, found better suppliers and fully paid off our NRE. When we assembled the 1st EPIC camera in Stage 6 at RED Studios Hollywood it took our team 12 hours. It took two more days to de-bug. Today we can assemble an EPIC in 13 minutes and 95+% need no re-work after diagnostics and testing. It is a testament to our manufacturing team and supply chain teams. Since our costs are now significantly lower we are re-pricing our cameras as of now. For those of you that purchased a new Scarlet or EPIC brain on or after Oct. 1st 2012, the next time you order accessories from RED you will receive a discount to use towards that purchase. $1000 for Scarlet and $4000 for EPIC. Talk to your Bomb Squad representative when you are ready to use this discount. Now… here is the new pricing: 5K EPIC-X Brain- $19,000 5K EPIC-X Monochrome Brain- $20,000 5K EPIC-M Brain- $24,000 5K/4K Scarlet Brain- $7,950 4.5K RED ONE M-X Battle Tested- $4000 (includes CF or SSD recording module). The RED ONE is End of Life. Battle tested is all that will be available from here on out. Due to high anticipated volumes, plan on extended response and processing times. Dragon sensor upgrade is not included for any EPIC system purchased at the new pricing going forward. Pricing is being updated on [url="http://www.red.com/"]www.red.com[/url] as I post this. Jim

lets see what Red Drop their prices to today .....that will give us a good idea of how much they are worried about the new Sony Cameras !! also James Bond - Skyfall is 2.8k Arri rezed up to 4k for projection and its the biggest selling Bond film so far! The UK opening weekend take was the largest ever in Bond history This just shows that film audiences are not really bothered about 4k aquisition .....we just want good films ! [url="http://www.flickeringmyth.com/2012/10/bond-breaks-records-as-skyfall-tops-uk.html"]http://www.flickeringmyth.com/2012/10/bond-breaks-records-as-skyfall-tops-uk.html[/url] [i][b]UK box office top ten and analysis for the weekend of Friday 26th - Sunday 28th October 2012... [/b][/i] [url="http://3.bp.blogspot.com/-fpG9kY2dMds/UIozgZhA4YI/AAAAAAAAdq4/MZxiMpd210Q/s1600/skyfall+quad.jpg"][img]http://3.bp.blogspot.com/-fpG9kY2dMds/UIozgZhA4YI/AAAAAAAAdq4/MZxiMpd210Q/s320/skyfall+quad.jpg[/img][/url]James Bond returned to UK cinemas this past Friday in [b]Skyfall [/b](read our reviews [url="http://www.flickeringmyth.com/2012/10/movie-review-skyfall-2012.html"]here[/url], [url="http://www.flickeringmyth.com/2012/10/second-opinion-skyfall-2012.html"]here[/url] and [url="http://www.flickeringmyth.com/2012/10/thoughts-on-skyfall-2012.html"]here[/url]), with Daniel Craig's third outing as 007 banking a hefty £20,180,369 to claim the highest opening for a Bond film (Craig's previous efforts [b]Casino Royale [/b]and [b]Quantum of Solace[/b] debuted with £13m and £15m respectively), as well as the biggest UK opening of 2012, besting fellow blockbusters such as [b][url="http://www.flickeringmyth.com/2012/04/movie-review-avengers-2012_26.html"]The Avengers[/url][/b] (£15.8m), [url="http://www.flickeringmyth.com/2012/07/movie-review-dark-knight-rises-2012.html"][b]The Dark Knight Rises[/b][/url] (£14.3m) and[b] [url="http://www.flickeringmyth.com/2012/07/movie-review-amazing-spider-man-2012.html"]The Amazing Spider-Man[/url][/b] (£11m).

The king of Digital Film - George Lucas - is selling Lucasfilm to Disney just anounced today. Lucas has pioneered digital film with his working partnership with Sony starting in the mid 1990's Star Wars Episode VII COMING 2015 [url="http://thenextweb.com/media/2012/10/30/disney-purchases-lucasfilm-including-the-star-wars-franchise-for-4-05b-in-cash-and-stock/"]http://thenextweb.com/media/2012/10/30/disney-purchases-lucasfilm-including-the-star-wars-franchise-for-4-05b-in-cash-and-stock/[/url] [url="http://finance.yahoo.com/news/disney-acquire-lucasfilm-ltd-195100740.html"]http://finance.yahoo.com/news/disney-acquire-lucasfilm-ltd-195100740.html[/url] No Doubt the new Star Wars film will use a Sony Global Shutter Camera!! watch this space.........

I'd like to see GH2 upscaled to 4k and projected!! we should do a test.....

it looks very sharp and crisp the image - its very well shot - Roger Deakins is very very good - he shot it all with spherical lenses Arri Master Primes [u]have a read of this [/u] [url="http://www.creativeplanetnetwork.com/dv/feature/skyfall-double-agents-data-recording-roger-deakins/60751"][u]http://www.creativeplanetnetwork.com/dv/feature/skyfall-double-agents-data-recording-roger-deakins/60751[/u][/url] [i]''A widescreen 2.40:1 aspect ratio frames the images, which were shot “flat” and extracted from the Alexa’s 16:9 sensor. The lenses were ARRI Master Primes, usually focal lengths in the mid-range like 27, 32, 35 and 40mm. [url="http://www.codexdigital.com/"]Codex[/url]recorders were used with all cameras, up to about 10. Codex Datapacks were backed up on set and then sent for dailies processing.[/i]'' another Deakins interview here [url="http://the.me/skyfall-first-bond-shot-entirely-digital-cinematographer-roger-deakins-weighs-into-film-vs-digital-debate/"]http://the.me/skyfal...digital-debate/[/url] looks like they re sized the 2.8k Arri Raw file to 4k for Projection on the new Sony 4k projection system!! this will cause alot of debate - if a Bond film can resize a 2.8k file and make money at the box office do we really all need to shoot 4k at all !! ....Im sure this debate will run and run !!!

Just seen the new Bond film Skyfall in 4k Sony Projection . It looks stunning image quality is amazing . Arri Alexa and Roger Deakin's Cinematography are a stunning combination! the film is very good too! great ending! It's worth seeing in 4k Projection [url="http://www.dcinematoday.com/dc/PR.aspx?newsID=3000"]http://www.dcinemato...spx?newsID=3000[/url] [b] ARRI hosts Roger Deakins, ASC, BSC, at IBC[/b] This year has seen an increased take-up of ARRIRAW recording for big-screen movies. Being unencrypted and uncompressed, ARRIRAW helps ARRI's software and postproduction partners to create the best possible 4K or IMAX deliverables; post houses such as ILM are praising the ARRIRAW workflow and the most respected cinematographers in the industry are testifying that ALEXA images look incredible on even the largest IMAX cinema screens. [img]http://i.ytimg.com/vi/24mTIE4D9JM/mqdefault.jpg[/img] [color=#606060]SKYFALL trailer[/color] ALEXA was the camera system chosen for the biggest film of 2012 so far - indeed the third highest grossing film of all time and the fastest ever to reach $500m in the U.S. - Marvel's THE AVENGERS. Cinematographer Seamus McGarvey, ASC, BSC, was so impressed by the functionality of the camera and the image performance of ARRIRAW on AVENGERS - his first digital movie - that he bought his own ALEXA. "The AVENGERS was my first feature film with the ALEXA," he notes. "I was really happy with our images. What was particularly impressive was how well it held up in IMAX theaters; this was a revelation to me." Roger Deakins, ASC, BSC Another ALEXA film to get the IMAX treatment, as well as a 4K DCP, is the next James Bond film, SKYFALL, directed by Sam Mendes and scheduled for release in November this year. Cinematographer Roger Deakins, ASC, BSC, comments, "On SKYFALL we are producing a 4K DCP from the ALEXA using ARRIRAW. It was only after I had chosen the ALEXA that IMAX projection became a consideration. Not to worry! The images I have seen in the IMAX theater are simply superb. The quality of the 4K image makes the usual IMAX 'enhancement' process totally unnecessary."

looks like it comes with free moire too ! please have a read of all the tests on it ......Im sticking with gh2

no they didn't get an Epic until they where nearly finished shooting the film.. Dragon Tattoo. I think the film is stunningly shot and the lighting is amazing See this from American Cinematographer Magazine January 2012 issue "Fincher had used digital capture on his previous three features, [i]Zodiac[/i] (shot by Harris Savides, ASC), [i]The Curious Case of Benjamin Button[/i] (shot by Claudio Miranda, ASC; [i]AC[/i] Jan. ’09) and [i]The Social Network[/i] (shot by Cronenweth; [i]AC[/i] Oct. ’10), and he decided to do the same on [i]Dragon Tattoo[/i], selecting Red Ones upgraded with the Mysterium-X sensor. Red’s new Epic was just becoming available, but using it as the main camera posed too many problems when the shoot began, according to Cronenweth. “At first we had a hard time getting cards for the Epic,” he recalls. “In addition, at that time, all Epic footage had to be sent directly to Red for transcoding before it could be sent to editorial, and we just weren’t comfortable with that. But John Schwartzman [ASC] was working with the Epic on [i]The Amazing Spider-Man[/i] and helping to pave the way. By the time they wrapped, RedRocket could handle the Epic footage, and [i]Spider-Man[/i] had made a huge number of cards available, so we shot the last 20 percent of [i]Dragon Tattoo[/i] with the Epic. “We made sure not to switch cameras within a sequence,” he continues. “Although the Epic has a lot more resolution and slightly different color range than the One, the color is close enough that we were confident all our footage would match.” Social Network was shot on Red One MX See this from American Cinematographer Magazine October 2010 "Director David Fincher declares that his team employed “a righteous workflow” for [i]The Social Network[/i], a digitally captured feature that details the development of the Facebook website by Harvard University students in 2003. According to Fincher, his team, which included cinematographer Jeff Cronenweth, ASC, managed to simplify while significantly advancing the data-based workflow methods employed on Fincher’s [i]The Curious Case of Benjamin Button[/i] (shot on high-definition video and 35mm; [i]AC[/i] Jan. ’09) and [i]Zodiac[/i] (shot on HD video; [i]AC[/i] April ’07). Fincher had used Thomson’s Viper on [i]Zodiac[/i], and the Viper and Sony’s F23 on [i]Benjamin Button[/i], but when he started prepping [i]The Social Network[/i], he made an early decision to adopt Red One cameras and data-management techniques for the project. Friend and fellow filmmaker Steven Soderbergh offered Fincher the use of Soderbergh’s own Red cameras, and around that time, Red was preparing to introduce its new Mysterium-X 4K sensor. Fincher persuaded Red to upgrade Soderbergh’s cameras with beta-version MX sensors, and he and Cronenweth shot [i]The Social Network[/i] with them, recording mainly to 16-gigabyte CF cards. “Viper technology was a few years old by the time we started this project,” explains Fincher. “I was comfortable with it and liked the bandwidth and the pictures I got, but … Steven [Soderbergh] let me use his Red Ones on some Nike commercials, and I just felt the Red was future-compatible. It’s light and small, and I could walk away from the set at the end of the day with a wallet full of CF cards, take them to the editorial department, download them, and go back and use them again. I call it a righteous workflow.“Red’s new chip was in the beta stage when I started prepping [i]Social Network[/i], and I felt that if the company could guarantee the chip’s stability throughout our shoot, it was a risk worth taking,” continues the director. “[Red CEO] Jim Jannard did that, so the decision was easy. When I brought Jeff Cronenweth in, I said, ‘If you don’t like the tests, we can discuss making a change, but otherwise, this is how I want to go.’ We went into a digital-intermediate suite, and the 4K images we saw made Jeff happy.”Cronenweth had previously shot music videos and the feature [i]Fight Club[/i] ([i]AC[/i] Nov. ’99) for Fincher, and had also shot second unit for the director’s films [i]Seven[/i] ([i]AC[/i] Oct. ’95) and [i]The Game[/i] ([i]AC[/i] Sept. ’97). When Fincher offered to bring him aboard [i]Social Network[/i], Cronenweth had not used the Red One with the new chip, though he had digitally captured commercials with the Red, Thomson’s Viper and Sony’s F35. Cronenweth says he quickly became comfortable with the MX chip after testing, and he believes the Red suited the “reality-based” aesthetic of the project at hand. He also felt the Red would help the production work around the fact that it had no access to the Harvard campus, where much of the story takes place. “We had to tread lightly when shooting near Harvard, while at the same time maintain high standards,” says Cronenweth. “I was confident that the Red would allow us to work light, move fast, handle low light and still get rich visuals. We could still monitor and regulate exposures, if you will, but our footprint was very small — we didn’t even have a DIT [digital-imaging technician]. We had a video-playback tech to record data, and one camera assistant managing data and sending everything to editorial. The video-playback tech received the normal 720 out signal for video assist via normal cabling.” The production carried two of Soderbergh’s Red Ones (Build 21) upgraded with MX chips and outfitted with Arri Master Prime lenses. Keslow Camera supplied the team with the Master Primes and a third Red One. (A second unit, which focused on crew-race footage, was outfitted with two lightweight Kevlar Red bodies that Red made specifically for the filmmakers.) Soderbergh’s cameras were run most of the time, with Peter Rosenfeld operating the A camera and Cronenweth on the B. The production utilized the Redcode 42 compression scheme, but Red also upgraded software so the production could go as high as 36 fps and still stay within Redcode 42. The movie was shot 2:1 (4096 x 2048) for a final aspect ratio of 2.40:1. Most of the time, the 4K images were recorded directly to CF cards. For long dialogue scenes or data-eating speed-change sequences, however, the team also used Red-Ram and Red-Raid drives. The filmmakers visualized what they shot “rather simply,” according to Fincher, on a pair of Panasonic BT-LH 1760 HD focus monitors. Rather than calibrating the monitors with a variety of look-up tables, they relied on the basic Redcolor default LUT, saving their fine-tuning for the digital grade. Cards were sent to editorial each day and offloaded, with an editorial assistant backing up each card to two separate hard drives and LTO tape before returning the cards to set. No physical media were used for dailies; instead, the production relied on the Pix System online media platform, staying in the data realm throughout.

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