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This topic comprises 4 pages: 1 2 3 4
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Author
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Topic: IMAX Boasts 26% More James Bond ‘Skyfall’
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 11-01-2012 12:36 PM
quote: Edward Havens
When someone like a James Cameron shoots a movie with the Super 35 process, only part of the image the movie camera captures is used. Maybe a Cameron movie isn't shot with the spherical lens that makes a CinemaScope movie a CinemaScope movie, but then how many movies are shot with actual CinemaScope lenses any more?
Lots of movies are still shot using anamorphic "CinemaScope" lenses. I saw Looper recently; that one was filmed anamorphic (Panavision 35mm cameras & lenses). The 35mm portions of the last 3 Batman movies were all filmed anamorphic. There's lots of others. The anamorphic look is very distinctive, enough so that lots of music videos and even TV commercials are shot with anamorphic lenses to gain that "movie look."
The Super35 process has been popular over the past 25 years, primarily as a means of producing home video safe widescreen that would work better than old 4:3 ratio TV sets. Now that 16:9 ratio TV sets are standard the home video safe widescreen issue has become a non-issue. Fitting a 2.39:1 image into a 16:9 TV set produces only minor letterboxing. I can't recall any movie releases on Blu-ray having separate "full screen" and "widescreen" versions.
Even though Super35 is technically home video safe portions of such movies like The Matrix and Titanic are still panned and scanned or severely cropped for 4:3 TV sets either for compositional issues (like keeping a close-up from turning into a medium close shot) or if the CGI/motion graphics effects were rendered in 2.39:1 aspect ratio. And then there's the newer issue of how the movie's digital intermediate is rendered. It's actually cheaper to render a 2K digital intermediate in 2.39:1 than to add more pixels to the top and bottom of the frame to fill out a 1.77:1 HDTV aspect ratio. If the finished movie is a 2.39:1 ratio digital intermediate then it would have to be panned and scanned for 4:3 TV sets regardless of how it was filmed or videotaped.
Anymore, the decision to shoot spherical or anamorphic has everything to do with how the cinematographer or director wants the shot to look rather than concerns over aspect ratio.
quote: Edward Havens
Plus, with digital cinematography, the camera captures far more image than the filmmaker will use, regardless of where they ultimately set the aspect ratio.
Modern video cameras typically record in the HDTV 16:9 aspect ratio. It doesn't take much cropping into that frame to make a 'scope ratio image.
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Edward Havens
Jedi Master Film Handler
Posts: 614
From: Los Angeles, CA
Registered: Mar 2008
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posted 11-01-2012 02:57 PM
quote: Bobby Henderson
Lots of movies are still shot using anamorphic "CinemaScope" lenses. I saw Looper recently; that one was filmed anamorphic (Panavision 35mm cameras & lenses). The 35mm portions of the last 3 Batman movies were all filmed anamorphic. There's lots of others. The anamorphic look is very distinctive, enough so that lots of music videos and even TV commercials are shot with anamorphic lenses to gain that "movie look."
If only I had asked about music videos and commercials, or movies shot eight years ago. ![[Roll Eyes]](rolleyes.gif)
Face it, the vast majority of 2012 theatrical releases are shot digitally, on Red Ones and Red Epics, Arri Alexas, Panavision Genesises, Sony CineAltas, Fusion Camera Systems. Even the films that are being shot on 35mm outside the Dark Knight Rises are mainly shot on 35mm with some digital. Even Willy Pfister used a Phantom HD Camera for some shots in Inception, and we all know how Nolan feels about digital cinematography.
But since Skyfall was shot on an Arri Alexa, the "conversion" from 2.39:1 scope to 1.89:1 IMAX diigtal shouldn't be too obtrusive.
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Cameron Glendinning
Jedi Master Film Handler
Posts: 845
From: West Ryde, Sydney, NSW Australia
Registered: Dec 2005
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posted 11-02-2012 06:55 AM
quote: Edward Havens
but then how many movies are shot with actual CinemaScope lenses any more? Plus, with digital cinematography, the camera captures far more image than the filmmaker will use, regardless of where they ultimately set the aspect ratio.
Anamorphic in digital, especially with the Arri Alexa is the latest thing. A brand new lens was released recently so expect a return of THAT look ![[Smile]](smile.gif)
quote: Brad Miller
but we humans see more WIDTH than HEIGHT. That's because our eyes are BESIDE each other, not one above the other. IMAX full screen ratio has always been dumb. 2.40 is the closest ratio to actual human vision.
quote: Jonathan Goeldner
how can something be 'panoramic' when you're exposing more image vertically?
IMAX ideal was that it is two cinemascope screens on top of each other, hence why they have a speaker channel for the top of screen. During the old NASA movies, the shuttle launches the camera would not follow, the audience would simply look up and up and up to follow the action to the top of the giant screen.
IMAX films were composed differently than normal features with the eye line being at 1/3 from the bottom of the frame.
quote: Brad Miller
Amen to that! All IMAX full frame does is screw up the composition of the image.
I saw both IMAX and digital versions of Dark Knight Rises and both looked professionally composed in their respective formats, how exactly do you think it screws it up?
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Cameron Glendinning
Jedi Master Film Handler
Posts: 845
From: West Ryde, Sydney, NSW Australia
Registered: Dec 2005
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posted 11-06-2012 02:47 PM
Arriflex website Arri group
quote:
Can I use anamorphic lenses with ALEXA?
Yes. You can use both traditional anamorphic lenses with a 2x squeeze factor as well as anamorphic lenses with a 1.3x squeeze factor with ALEXA cameras.
When using the ALEXA and ALEXA Plus cameras, which are capable of 16:9 but not 4:3 sensor mode, using the 1.3x anamorphic lenses will provide a slightly more efficient use of the sensor’s 16:9 aspect ratio and thus a slightly higher resolution and less noise in the final image. However, since ALEXA has a very sharp image and a very low noise level to begin with, the ‘conventional’ 2x squeeze anamorphic lenses work as well. In that case you need to crop the 16:9 (1.78:1) image in post to 1.195:1, before de-squeezing the image to 2.39:1.
When using the ALEXA M or ALEXA Studio, it is much better to use 4:3 sensor mode when shooting with anamorphic 2x squeeze factor lenses.
Anamorphic de-squeezing in the viewfinder and on the MON OUT is available as a software license key for purchase for the ALEXA and ALEXA Plus. It is always included in the ALEXA Studio. This feature will work for 2x and 1.3x anamorphic lenses. 16:9 vs. 4:3 Sensor Modes
The 4:3 sensor area is taller than the 16:9 sensor area, but not wider. Any distribution formats that are limited by the sensor's width (1.78:1, 1.85:1, 2.39:1 flat and 2.39:1 with 1.3x anamorphic squeeze) do not gain resolution by using 4:3 sensor mode. However, in 4:3 sensor mode those formats gain the ability for significant vertical repositioning. The one format that gains significant resolution in 4:3 sensor mode is 2.39:1 with 2x anamorphic squeeze (traditional CinemaScope).
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Bobby Henderson
"Ask me about Trajan."
Posts: 10973
From: Lawton, OK, USA
Registered: Apr 2001
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posted 11-07-2012 12:22 PM
One claim I would like to see substantiated with specific, verifiable facts is this:
quote: Edward Havens
Face it, the vast majority of 2012 theatrical releases are shot digitally, on Red Ones and Red Epics, Arri Alexas, Panavision Genesises, Sony CineAltas, Fusion Camera Systems.
Of movies from major studios that actually play in commercial movie theaters, many still appear to be shot on film. Even some seemingly all-video productions like Prometheus mixed in some use of 35mm film.
In terms of looking at movie releases in absolute numbers, throwing in all the straight-to-DVD shit releases and dozens of indie features that at best make it into a handful of theaters (if any at all), that would help that "movies in digital" figure. Lots of indie productions have been shooting on video for more than a decade -primarily out of budget limits. I've channel surfed past Independent Film Channel in disgust at times when confronted with a "movie" shot using SD MiniDV gear and then cropped to 'scope proportions.
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Edward Havens
Jedi Master Film Handler
Posts: 614
From: Los Angeles, CA
Registered: Mar 2008
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posted 11-07-2012 06:14 PM
Bobby, I've only had an hour or so to tally this, but this is what I have so far of movies from 2011-2013 that, from the info out there, were exclusively or primarily shot digitally, with the system used:
2 Days in New York (Arri Alexa)
42 (Red Epic MX)
47 Ronin (Arri Alexa)
A Few Best Men (Arri Alexa)
A Very Harold & Kumar 3D Christmas (Panavision Genesis)
Abraham Lincoln: Vampire Hunter (Arri Alexa)
Act of Valor (Canon EOS 5D Mark II)
After Earth (Sony F65)
Albert Nobbs (Red One MX)
Amour (Arri Alexa)
Anonymous (Arri Alexa)
Argo (Arri Alexa)
Bachelorette (Red One MX)
Bernie (Arri Alexa)
Broken City (Arri Alexa)
Bucky Larson: Born to Be a Star (Panavision Genesis)
Captain America: The First Avenger (Panavision Genesis)
Cedar Rapids (Arriflex D-21)
Celeste and Jesse Forever (Arri Alexa)
Chronicle (Arri Alexa)
Contagion (Red One MX)
Cosmopolis (Arri Alexa)
Dolphin Tale (Red One MX)
Dredd (Red One MX)
Drive (Arri Alexa)
Drive Angry (Red One MX, Silicon Imaging SI-2K)
Elysium (Red Epic MX)
Extremely Loud and Incredibly Close (Arri Alexa)
Final Destination 5 (Arri Alexa)
Flight (Red Epic MX)
Friends With Kids (Arri Alexa)
Gambit (Arri Alexa)
Gangster Squad (Arri Alexa)
Ghost Rider: Spirit of Vengeance (Red One MX)
Gone (Red Epic MX)
Gravity (Arri Alexa)
Hansel and Gretel: Witch Hunters (Arri Alexa)
Haywire (Red One MX)
Headshot (Red One MX)
Hello I Must Be Going (Arri Alexa)
Here Comes the Boom (Arri Alexa)
Hitchcock (Red Epic MX)
Horrible Bosses (Panavision Genesis)
Hugo (Arri Alexa)
Immortals (Panavision Genesis)
In Time (Arri Alexa)
Jack and Jill (Arri Alexa)
Jack the Giant Killer (Red Epic MX)
Killer Joe (Arri Alexa)
Lawless (Arri Alexa)
Lay the Favorite (Sony CineAlta F35)
Life of Pi (Arri Alexa)
Like Crazy (Canon EOS 7D)
Mad Max: Fury Road (Arri Alexa)
Magic Mike (Red Epic MX)
Margin Call (Red One MX)
Melancholia (Arri Alexa)
Men in Black III (Arri Alexa)
Mr. Popper's Penguins (Arri Alexa)
Our Idiot Brother (Red One MX)
Oz: The Great and Powerful (Red Epic MX)
Pacific Rim (Red Epic MX)
Parker (Red Epic MX)
Pina Sony HDC-1500
Pirates of the Caribbean: On Stranger Tides (Red One MX)
Pitch Perfect (Arri Alexa)
Prom (Arri Alexa)
Prometheus (Red Epic MX)
R.I.P.D. (Arri Alexa)
Rampart (Arri Alexa)
Resident Evil: Retribution (Red Epic MX)
Robot and Frank (Arri Alexa)
Rock of Ages (Arri Alexa)
Ruby Sparks (Arri Alexa)
Sanctum (Fusion Camera System)
Seeking a Friend for the End of the World (Arri Alexa)
Shark Night 3D (Fusion Camera System, Sony CineAlta F35)
Sin City: A Dame to Kill For (Arri Alexa)
Skyfall (Arri Alexa)
Sparkle (Arri Alexa)
Spy Kids: All the Time in the World (Arri Alexa)
Stand Up Guys (Red Epic MX)
Ted (Panavision Genesis)
Texas Chainsaw 3D (Red Epic MX)
That's My Boy (Red Epic MX)
The Amazing Spider-Man (Red Epic MX)
The Avengers (Arri Alexa, Canon EOS 5D Mark II, Canon EOS 7D)
The Campaign (Arri Alexa)
The Devil's Double (Red One MX)
The Dictator (Arri Alexa)
The Five-Year Engagement (Arri Alexa)
The Girl With the Dragon Tattoo (Red One MX, Red Epic MX)
The Great Gatsby (Red Epic MX)
The Hobbit: An Unexpected Journey (Red Epic MX)
The Hobbit: The Desolation of Smaug (Red Epic MX)
The Hobbit: There and Back Again (Red Epic MX)
The Lincoln Lawyer (Red One MX)
The Man with the Iron Fists (Red One MX)
The Muppets (Red One MX, Red Epic MX)
The Three Musketeers (Arri Alexa)
The Watch (Arri Alexa)
Think Like a Man (Red Epic MX)
This Is 40 (Arri Alexa)
Total Recall (Red Epic MX)
Transformers: Dark of the Moon (Sony CineAlta F35)
Underworld: Awakening (Red Epic MX)
What to Expect When You're Expecting (Arri Alexa)
World War Z (Arri Alexa)
Young Adult (Arri Alexa)
Zero Dark Thirty (Arri Alexa)
Zookeeper (Panavision Genesis)
I have to go study for my Business class midterm, so I'll have to continue my search later, but as you can see, that's a pretty significant list of bigger Hollywood and top-flight independent movies. But yes, I conceded it's not quite a slam-dunk of all the biggest productions shot digitally... yet.
As for you Tony... you've been rude and condescending towards me since I first showed up, and you get what you give. Those who live in glass houses... you know, blah blah blah. You've contributed nothing to this thread but personal attacks on me, so just keep being the excellent dick with blinders on that you are. ![[beer]](graemlins/beer.gif)
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Edward Havens
Jedi Master Film Handler
Posts: 614
From: Los Angeles, CA
Registered: Mar 2008
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posted 11-08-2012 05:13 AM
Bobby, I never said every single one of my examples was 100% shot digitally. I said exclusively or primarily.
I will concede, after some more reading, Argo only shot digitally while on location in Turkey, while employing 35mm for the majority of its shoot, along with 16mm and even some 8mm film.
In an interview with Total Recall DP Paul Cameron a few months back, he clearly states "In the end, we used very little film, only in crash housings for second unit."
In interviews with The ASC and with Arri, The Avengers DP Seamus McGarvey spells out how 35mm was only used in high-speed shots, as HFR was not yet available on the Alexa during production.
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