"The Amazing Spider-Man 2" retorna al celuloide

Kodak acaba de publicar la noticia. Como todos sabemos la primera parte se filmó en formato 3D con Red Epic, pero para esta entrega el director Marc Webb y el DP Daniel Mindel ASC BSC escogieron filmar con película Kodak VISION3 500T (5219) y Kodak VISION3 200T (5213) principalmente, en sus palabras: "..to me, film is irreplaceable.." (para mi, el fílmico es irremplazable).

De la página de Kodak:

Cinematographer Daniel Mindel, ASC, BSC is shooting director Marc Webb’s The Amazing Spider-Man 2, which is shooting entirely in New York, including Kodak’s hometown of Rochester. Mindel, whose credits include Star Trek and Star Trek Into Darkness, Savages, Mission: Impossible III and Domino, is known for a strong preference for shooting anamorphic 35 mm film, or larger film formats like IMAX and 8-perf 65 mm.

The first installment of the Amazing Spider-Man was shot in native 3D using digital cameras. “On The Amazing Spider-Man 2, they hired me because they wanted to go back to shooting film,” says Mindel. “Marc Webb had seen Star Trek and liked the way it looked. We are halfway through the Spider-Man 2 shoot, and it’s looking really good.”

This time, the 3D version of the film will be made using a post conversion process. “We did that with Star Trek and John Carter, and it worked very well,” says Mindel.

The main unit is shooting KODAK VISION3 500T Color Negative Film 5219 and Kodak VISION3 200T Color Negative Film 5213. A second unit is shooting some day exterior scenes on KODAK VISION3 50D Color Negative Film 5203.

“We try very hard to maintain the integrity of the cinematographic process so that there is some continuity to the storytelling,” says Mindel. “The CG that these movies live by should contain some elements that are organic. Telling stories with motion pictures is really what interests me, and I like to use film as part of the emotional landscape of a story. To me, film is irreplaceable.”

Here's some pictures that director Marc Webb posted to Twitter of Dan Mindel having fun on the set of The Amazing Spider-Man 2:

Para mas detalles y fotografías trás cámaras diríjanse al siguiente link: http://motion.kodak.com/motion/About/The_Storyboard/4294971572/index.htm#ixzz2S9LGFGgW

Jean-Pierre Beauviala define el futuro de AATON

Tras una semana de rumores sobre el fin de AATON, Jean-Pierre Beauviala, fundador de la compañía francesa fabricante de cámaras de Cine y grabadores de audio profesional, ha enviado un mensaje determinando el futuro de AATON, con interesantes noticias para compartir con la comunidad del audiovisual profesional. Recordemos que AATON es el fabricante de cámaras como la AATON 35mm, XTerá, AATON Penélope. En la NAB de este año incluso llegaron a tomar pre-órdenes para su nueva cámara de Cine Digital profesional Penélope Delta (link), la que se esperaba fuera la principal competencia en cuanto a calidad, pero que ahora solo quedará en prototipo. En palabras del propio JPB "..EL nuevo AATON se enfocará en dos nuevos productos para comenzar: el grabador de audio CantarX+ (la actual cosecha será mantenida), y la camara digital de estílo documental y viewfinder reflex, D-Minima".
Basada obviamente en la AATON A-Mínima (de la que se dice es la mejor cámara de 16 mm, ciertamente cómoda para trabajar, incluso más que la ARRI SR3 para algunos como yo), y con tecnología heredada de su hermana mayor (prototipo) AATON Penélope Delta, esta cámara promete ser muy interesante.
AATON

Es una suerte conocer que aún existe futuro para esta compañía. Enhorabuena!

AATON A-Mínima

Dear friends,

AATON YESTERDAY

Over the last couple of years, Aaton devoted its energy and resources to the development of a new high-end camera, Delta Penelope. The prototype got rave reviews for its crisp but still velvet image structure, and its outstanding chromatic finesse resulting in exceptional skin tones and subtle hues.
The CCD sensor used, though its imaging was excellent in the prototypes, has not allowed us to ensure the same perfomances in industrial production. This is particularly regrettable, since many orders have been placed for the camera.

AATON TODAY

Aaton is not closed; the company will be taken over by new owners.
At this stage, finance will not in itself solve the Delta Penelope problem, but it will allow us to continue on other developments (based on Aaton patents) already in the pipeline.

AATON TOMORROW

The new Aaton will focus on two new products to start out with: the CantarX+ audio recorder (the current crop will be maintained), and the D-Minima documentary style reflex-viewfinder digital camera.

Many thanks to those who send me their personal “encouragements” and to those who offered us their dreams about the new Cantar, I think you will love to play/work with it.

–jp

You C1000 Lemon Water, filmado con el Talos Motion Control

Este comercial fué filmado en Jakarta por Kontrol Freax, casa productora especializada en motion control, utilizando el dispositivo de control de movimiento de MRMC "Talos".

MRMC -- You C1000 Lemon Water from Mark Roberts Motion Control on Vimeo.

Este es un Making of comparativo del antes y el después.

MRMC -- You C1000 Lemon Water Split Screen from Mark Roberts Motion Control on Vimeo.

Este es el "Talos" en acción.

Cámaras 4K, quien fué primero?

Jim Jannard ha aclarado algunas dudas que se han generado con respecto a la historia del 4K y su adopción por la Industria del Audiovisual en general.

Tomado de Reduser.net 

Sony… get real.

It appears that Sony is now attempting to re-write history and be the champion of 4K.

http://www.pocket-lint.com/news/1206…ouple-of-years

Really? I don’t think so…

Re-writing history isn’t going to happen because I am personally not going to let it happen. Let’s get this one straight. RED… 4K delivery. Period.

What are the facts?

Sony developed the Genesis digital camera (with Panavision as the frontman) in their best effort to replace film with digital. Just ask John Gault. It was a 1080P camera. RGB codec.

After the Genesis, Sony released the F-23 Digital Cinema Camera (without Panavision). It was still 1080P. And it recorded RGB to an SR deck. It was $225K+. This was the best that Sony had to offer the cinema industry. The RED ONE (4K) was less than $20K at that time.

About the time we released the EPIC (5K for a 4K finish), Sony released the F35. The F-35 was $325+ with SR deck RGB recorder. Again… it was 1080P. But it was full frame… (rolls eyes).

Finally, in 2012, (over six years after we championed 4K), Sony released the F65. Good for them. It was about time. While Sony misrepresented it as an 8K camera… it actually is a 4K camera, that is OK with me. They finally joined the 4K club.

At CES this year (2013), there were 28 4K panels shown by several companies and the world began to understand that 4K is finally here. Sony was one of the many companies that showed 4K panels. Surprisingly… Sony had no 4K player. Of course RED did. Apparently Sony forgot that you need a player to complete the 4K ecosystem.

And now Sony wants to pretend that they are the company that invented and is delivering 4K? Their lack of belief in 4K is the single reason that RED exists.

Make no mistake… Sony was NOT the company that dictated the future. Quite the opposite. They were the obstacle to the future. Apparently they have now seen the light (under pressure). Just remember they were the last one in…

And one last thing… apparently the Sony camera division needs to emulate RED in just about every way imaginable. Flattering. I’m blushing.

One last thing… I’m talking about Sony Electronics. Sony Pictures rocks.

Jim

HDMI sin compresión para la 5D Mark 3.

Canon acaba de poner a disposición del público un nuevo firmware gratis para la cámara Canon 5D Mark 3, con el que principalmente ofrece autofoco de tipo cruzado, y lo más importante, la posibilidad de grabar la salida HDMI sin compresión (Uncompressed), que combinado con un mejorado sampleo de color YCbCr 4:2:2 8bits, permite mayores posibilidades al momento de la post, gradación de color, etc. Con las nuevas cámaras de Blackmagic a poco de empezar a ser distribuidas por todo el mundo a sus nuevos usuarios, es de esperar que Canon tome medidas urgentes para no perder una parte importante del mercado audiovisual que ha ganado en los últimos años.

Para descargarse el firmware gratis para la cámara Canon 5D Mark 3, remítanse a este link. (Link)