June 2014 - Blog
Today, Apple released a new video codec into the filmmaking post production world. It’s called ProRes 4444 XQ and it’s a mother-scratching beast.
At 4K (4096 x 2160) it registers 1697 Mbps which equals 764 GB/hour of 4K video footage. A single camera large Hollywood production can often shoot 100 hours of footage. That’s 76 TB of 4K ProRes 4444 XQ footage.
The upcoming David Fincher film GONE GIRL crept up on 500 hours of raw footage during its multi camera 6K RED Dragon production. That equates to roughly 315 TB of RED 6K (4:1) footage. Shit just got real for data management and post production workflows. It’s time to embrace the madness! Read more…
John Carpenter’s THE THING came out 32 years ago today. It is an epic horror film that has stood the test of time and plays as well today as when it first screened in 1982. Beautifully shot in Anamorphic by Dean Cundey, it completely captures the claustrophobic environment that encased the scientists in their Antarctic station. What is not often discussed are the massive landscapes and perfectly composed wide shots that are sprinkled throughout the film.
Most of the photo essays that pay tribute to THE THING focus on the amazing creature design by Rob Bottin that set new standards for practical effects. I want to focus on 44 of my favorite Anamorphic shots that are rarely remembered but immediately recognizable and indelible to creating the atmosphere and impact of the horror that terrorized the characters and the audience. Read more…
In 1928, FOX opened their studios in Century City, California. In 1935, FOX merged with 20th Century Pictures and those studios went on to create some of the most memorable films and TV shows of all time. I had the pleasure of working on the FOX lot during the last couple of weeks and took some behind the scenes photos during my stay. Pure Hollywood History!
Shows shot here include: Avatar, The Simpsons, M*A*S*H, The Sound of Music, L.A. Law, Charlie’s Angels, Die Hard, Fight Club, Minority Report, House and Butch Cassidy and the Sundance Kid. The sense of history you feel when you walk the lot is indescribable… Read more…
I wanted to share final images from 7 projects that I’ve color graded over the last 2 years. There are more than 14,000+ total shots in all the films. Only about half are displayed above. Some of these films are completed and already released…some are coming soon! The image above represents hundreds of hours of color grading work. Yes…my ass is sore. Here are the 7 projects:
THAT WHICH I LOVE DESTROYS ME (2014) – directed by Ric Roman Waugh
ZOMBIE NIGHT (2013) – directed by John Gulager
ME & EWE (2013) – directed by Barry Andersson
ANDROID COP (2014) – directed by Mark Atkins
THE GRIND – directed by Jhon Doria
MY SHANGHAI (2014) – directed by P.H. Wells
THE CLUB BOAT – directed by Vashi Nedomansky
LINK to a 4802×3438 JPEG of the 6776 shots
BONUS: Here’s a look at all 2050 color graded shots in ZOMBIE NIGHT
Davinci Resolve gets better and better with every iteration and the
improved editing features are making it a one-stop post-production platform.
Until next time…
The season finale of HBO’s SILICON VALLEY had a scene that addressed the logistics of how to jerk off 800 dicks. Mike Judge (Beavis and Butthead, Office Space) and writer Alec Berg (Seinfeld, Curb your Enthusiasm) juxtaposed the creative mindset of a team of awkward start up tech geniuses with a hypothetical mass manual hand job scenario to help win the annual TechCrunch Disrupt Conference.
It’s one of the funniest scenes I’ve ever experienced so I decided to transcribe it back into screenplay format. The beauty of the scene is the commitment and focus of the team to solve a technical problem with no regards to the social implications of the actual scenario. Their obliviousness to the actual task at hand (no pun intended) is what made it so effective for me. Enjoy!