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Public Enemies


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#1 Michael B McGee

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Posted 30 June 2009 - 05:51 PM

Anybody excited about seeing EX1 footage on the big screen? i hope i get to see a film-out and not a 2/4K projection. either way, i'm kinda excited. ok, maybe just curious.
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#2 Adrian Sierkowski

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Posted 30 June 2009 - 05:56 PM

Since I have an EX, yeah, I'm a little bit interested, but at the same time, I'm sure it will hold up pretty well. I just wonder if the rolling shutter artifacts, if any, will be any more pronounced.
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#3 Michael B McGee

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Posted 30 June 2009 - 07:49 PM

Since I have an EX, yeah, I'm a little bit interested, but at the same time, I'm sure it will hold up pretty well. I just wonder if the rolling shutter artifacts, if any, will be any more pronounced.



how often do you really notice the rolling shutter in your work? is it that common? what type of operating do you do? if you're noticing a lot of artifacts then i think you've been shooting for Oliver Stone too long. some of his movies give me headaches. ouch!!!
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#4 K Borowski

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Posted 30 June 2009 - 08:24 PM

Anybody excited about seeing EX1 footage on the big screen? i hope i get to see a film-out and not a 2/4K projection. either way, i'm kinda excited. ok, maybe just curious.


Why would you want to see a digitally-shot movie in a film projection? Just seems a total waste of film to me. This should be somewhere where digital would excel, unless it is a really bad DLP projector.

Anyway, not trying to be a jerk, just wondering why you'd prefer film. Only advanatage it has is colors and some resolution, which wouldn't be apparant in a camera that probalby has much lower bit-depth than MP print stock.
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#5 Michael B McGee

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Posted 01 July 2009 - 12:40 PM

Why would you want to see a digitally-shot movie in a film projection? Just seems a total waste of film to me. This should be somewhere where digital would excel, unless it is a really bad DLP projector.

Anyway, not trying to be a jerk, just wondering why you'd prefer film. Only advanatage it has is colors and some resolution, which wouldn't be apparant in a camera that probalby has much lower bit-depth than MP print stock.



well, i've never seen a film-out from this camera. that's the main reason. your points are valid, but they recorded to SRW decks with the EX1s and that method would produce a 10bit 4:2:2 image.

Edited by Michael B McGee, 01 July 2009 - 12:42 PM.

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#6 Michael B McGee

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Posted 01 July 2009 - 12:41 PM

great new for L.A. viewers. The Landmark Theatres in West LA are showing the film on 2 screens. 4K Sony digital projector and film. i'm gonna see it on film first since its a fresh print and digital projection next time. enjoy!!!!

http://www.landmarkt...es_Frameset.htm
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#7 Michael B McGee

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Posted 01 July 2009 - 01:00 PM

Theaters with Sony 4K Digital Cinema Projectors:

http://pro.sony.com/...Locations.shtml
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#8 Adrian Sierkowski

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Posted 01 July 2009 - 01:11 PM

I notice the rolling shutter on occasion. It's never too too bad, just with quick pans and sometimes in odd places, like a floro tube or something like that. It's never really a BAD thing; but also, I think some of it might be covered up by viewing footage on smaller screens (tvs) as opposed to a big multiplex, is all.
Nothing against the camera, I mean, hell, I bought it for a reason ;)
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#9 Arni Heimir

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Posted 01 July 2009 - 03:25 PM

Anybody excited about seeing EX1 footage on the big screen? i hope i get to see a film-out and not a 2/4K projection. either way, i'm kinda excited. ok, maybe just curious.


I got to hand it to Michael Mann. Using the EX1 for a 80 million dollar production is unusual, but it could be very interesting in terms of visual texture and look.
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#10 Adrian Sierkowski

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Posted 01 July 2009 - 03:42 PM

From what I'm hearing the EX1 was only used as a B Camera, but I have no idea if that's true. I could see it fitting into the production, though, under such circumstances.
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#11 Michael B McGee

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Posted 01 July 2009 - 08:42 PM

according to the editor, 97% was shot on the F23. check out the 7:00 mark of this interview. http://digitalconten...._enemies_0909/


i just got back from the theater where i saw a film print. i could definitely tell which shots were done with the EX1. the angles were great but image didn't hold up very well. neither did the F23 footage for that matter. very noisy images even if in nicely light day exteriors. personally, the F23 and EX1 are not made for dramatic lighting for film-outs. S16 looks much better then this print did and today was Opening Day. the print should be flawless.
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#12 Glynn Albert

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Posted 11 July 2009 - 02:24 PM

Theaters with Sony 4K Digital Cinema Projectors:

http://pro.sony.com/...Locations.shtml

AMC Glendora 12 1337 East Gladstone Street, Glendora, CA 91740
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#13 Glynn Albert

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Posted 11 July 2009 - 02:29 PM

From what I'm hearing the EX1 was only used as a B Camera, but I have no idea if that's true. I could see it fitting into the production, though, under such circumstances.

On Public Enemy Mann also used the PMW-EX1 XDCAM EX camcorder for additional footage. “At times, when Michael wanted an extra shot, acrobatic moves, or to get into small spaces, we used the Sony EX1,” Spinotti says. “I recently saw all the footage cut together,” he adds, “and I was amazed.

The footage cuts together seamlessly. “Public Enemies featured a vast variety of challenges, including extreme darkness, extreme cold and hard to reach locations. No matter where we went or how hard we rode the cameras and lenses – the images were spectacular. Sony and Zeiss really came through for us on this picture.”
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#14 David Mullen ASC

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Posted 11 July 2009 - 02:57 PM

i just got back from the theater where i saw a film print. i could definitely tell which shots were done with the EX1. the angles were great but image didn't hold up very well. neither did the F23 footage for that matter. very noisy images even if in nicely light day exteriors. personally, the F23 and EX1 are not made for dramatic lighting for film-outs. S16 looks much better then this print did and today was Opening Day. the print should be flawless.



The F23 is one of the least noisy digital cameras on the market, and definitely would create a finer-grained print than something even shot in 35mm, let alone Super-16, so any noise/grain you saw in the F23 footage was added in some way, either through underexposure, gain, etc. "Speed Racer", for example, was all shot on the F23 and it's not noisy.
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